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https://archive.org/details/catalogueofpriva02amer 


me-  PRICES  FOR  PICTt&w 

THE  STEBBIN’S  COLLECTION  SOLE 


MANY  YEIL-t-NOWN  LOVERS  OS’  ART  CROWD 
CHICKERING  HALL. 

Gliiokering  Hall  was  Oiled  last  night  with 
artists  and  those  interested  in  art,  at  the  sale  of 
the  Stebbins  coUection  of  paintings.  The  interest 
Celt  in  the  sale  was  indicated  by  the  presence  not 
only  of  art-lovers  of  New-Yopk,  but  the  Boston 
Museum,  the  Corcoran  Gallery  of  Washington, 
and  many  wealthy  buyers  of  Western  cities'  were 
represented  in  the  audience.  C.  P.  Huntington 
occupied  a  central  seat,  and  Meissonier’s  “  Tho 
Game  Lost."  was  reported  to  have  been  purchased 
by  him.  William  W.  Astor  secured 
one  of  the  Geromes,  “  Moliere  Break¬ 
fasting  with  Louis  XIV, n  after  spirited 
bidding.  The  other  Gerome,  “  L’Eminence  Grise,” 
was  obtained  by  W.  B.  Mason,  of  Boston,  and 
it  was  said  that  it  is  likely  to  go  to  the  Boston 
Museum. 

Fortuny’s  “Spanish  Lady”  was  bid  in  by  W. 

A.  Keeler.  This,  it  was  reported,  will  remain 
in  the  city,  and  was  bought  for  the  Museum  | 

of  Art.  ! 

The  sale,  as  a  whole’  it  was  said,  is  the  larg-  | 
est  that  has  been  held  in  the  city  sines  the  sale  ) 
of  the  Stewart  collection.  Late  last  night  it  j 
was  estimated  that  it  would  aggregate  over 
$175,000,  and  probably  close  upon  $200,000. 
The  following  is  a  full  catalogue  of  the  sale, 
the  prices  which  the  pictures  brought  and  the 
purchasers,  so  far  as  they  were  made  known, 
last  night: 

“Five  Brittany  Children,”  Robert  Wylie.  S®50.  _ 

“Early  Summer,”  C.  S-  II.  -He  ^Loux,  $o0Q  *  Pur 

^ Mount  Hood,  Oregon,”  Albert  Bierstadt,  N.  A.,  $400 : 
purchaser,  M.  Arnheim, 

“Washerwomen  o£  Brittany.”  Emhe  Louis  Vernier. 

S37^Wring  the  Pet.”  Anton  H.  Dieffenbach.  *475: 

Durehaser,  H.  S.  Wilson,  _  ,  Tr  o 

“CuriosUy.”  Charles  Baugnet.  $oio;  purchaser  H.  b. 

W1“5View  ol  Naples,”  J  O.  De  Montelant ,  $275. 

“The  Emir,  Scenes  In  Algiers,  Gustave  R.  O.  Bou 
longer,  deceased.  *975:  purchaser,  H.  8.  Wilson. 

“A  Rainy  Day.  Place  de  la  Concorde,  Edouard  Lean 

^^^xfnceHain"  Weather,"  Jules  Worms,  $1,200;  Jacob  H. 

BOl“  Confidences,”  Joseph  de  Nittis.  $825. 

“The  Wine  Testers,”  Adolphe  Grison,  $/75.. 
“Hlde-and-Seek,”  Luis  Alvary,  $000, 

“Bull  Fighters  Awaiting  their  Turn,  J.  Villegas, 
50,850  ;  purchaser,  William  A.  Keeler.  _  .  „ 

"MicLmght  Amusement  in  the  Olden  Time— 'Venice, 
Lucius  Rossi,  $425. 

“Fortuny’s  Studio,”  Joaquin  AgTassot,  $6<o. 

“Bohemian  Cabin,”  Jean  Francois  Portaels,  $175. 

“The  Disputed  Picture,”  C.  Cervi,  $1,025, 

“Socialism  and  Cholera,”  ,E.  J-  H.  _V  ernet  $275. 

“true  Seine  near  Poissy,”  Martin  RiCo,  $l,62o. 
“Country  and  City  Rats — LafontaunYs  table,  Charles 
Hermann  Leon.  .  „  .  _ 

“The  Sultan’s  Escort/’  Albert  Pasim.  @1,750. 

Artists’  Amusement  During  Carnival,  Rome,  F.  L. 
Loth,  $1,250;  purchaser,  William  A.  d.aylor.  _ 

“Two  Oracles,”  Jules  Emile  Saintin,  $550;  purchaser, 

’M’ “^he^TemptSion1  o’l  Plaint  Anthony/'  Charles  Edouard 
d®  ‘Pfu^HonoS’2^'  the  Foot,”  Jean  Richard  Goubie, 
*3’“View  in  the  White  Mountains,”  W.  H.  Beard, 
N‘ "Serenade'  in  Rome,”  Janies  Bertrand,  deceased, 

L.  Jacomin.  6950, 

^fe^uhery  ^aWS^Bdouard  Richter,  $775; 
purchaser,  Marks  Arnheim.  ... 

y  “Arcadia,”  Felix  Ai-mand  Heullant,  $300.  r 

“Sunset  In  the  Yosemite,”  A.  Bierstadt,  N.  A..,  $l,o00. 
‘.Ancient,  Armor,”  J.  L.  O.  Melssonier,  $42o. 

“Ready  for  the  Market.”  Marie  Rosa  Bonheur,  $7-5. 
“The  Love  Token,”  jjl.  P.  Berne- Bellecour,  $270. 
“Street  in  Granada,”  Ricardo  Madrazo,  *200. 

“Chinese  Shop,”  Joseph  de  Nittis,  deceased  $250. 
“Boating  Party  in  th6  Bois  de  Boulogne,  M.  Rica, 
$400 ;  purchaser,  Hermann  Kchaus. 

“After  the  Supper,  One  Must  Pay,”  L.  A.  Lejoir,  $350. 
“Washerwomen  at  Poissy.”  Martin  Rico,  $460. 

“A  Concert,”  Attilio  CaVailiew  Simonetti,  $810. 

“Scene  ip  the  Franco- Prussian  War,"  Jean  Baptiste 
Edouard  Dotailie,  $900 ;  purchaser,  Charles  Pratt. 
“Pifferari,”  Mariano  Fortuny,  deceased.  $52o. 
“Captain  ol  tho  Guard”— Louis  XIII,  J.  E.  L.  Meis- 

^Nommndv  Castle,”  Constantine  Troyon,  deceased, 


S“dM°arrke4  Scene  in  Hungary,”  Professor  August  von 
Pettenkoffen,  $1,000.  Edouard  Bamacois  deceased  $2, 475. 
“Tho  First-Born,”  Jean  G-eorges  Vihert,  $3,100,  pui 

0hLand?cane  °“On  3tho  River  Marne,”  Charles  Francois 
Daubigny,  deceased.  $5,100;  purchaser,  ^Hermann  feebau  . 
“Moorish  House  and  Court,  Granada.  M.  Rico,  *3,27 o. 

of  tho  O&ilFDftifirn,”  J,  0.  Mcissonior,  $3,000.  _ 
“Bevyinff  Contributions,”  E.  Zamacois,  deceased,  $7,-00 ; 

PStudTof  Judith,”  Emile  Jean  Horace 
vel-ne t,  deceased,  $875;  purchaser,  M.  B.  Mason,  of 

B°“Winter  in  Wnllachia,”  Adolf  Schreyer,  $2,700;  pur- 

°to“eMoUe™B^eakfastlng  with  Louis  XIV  at  Versatile^ 
Jean  Been  Gerome,  $10,500;  pTircnased,  it  is  thought,  Dy 

WI“HauUng  "by  (lie  Capstan— Yport,  Normandie,  Alphonse 
Mhrie  De  Neuville,  deceased,  $2,000;  purchaser,  Jacob  H. 

Se^‘Noi-mandy  Cattle,”  F,  A.  Bonheur,  deceased,  $2,400; 

PUS‘Scene’  a“a  Spfnilh  Diligence  Station/-  J.  G.  Vlbert, 
100  •  nurchaser,  M.  H.  Arnot,  of  Elmira. 

“The  -Game  Lost,”  J.  B.  E.  Meissomer,  $26,300 ,  pnr- 

L.  E.  M^— ;  $7,100;  pur- 

Ch“Queen  Omtlfd™0 Clovis,  First  Christian  King 
of  France,  Instructing  her  Children  in  Arms,  Laurenz 

A1 “Hesitating R  Between  Love  and  Richey  ”  WiUlam 
Adolphe  Bouguereau,  $4,600 ;  purchaser,  M.  B.  Mason,  of 

B°“jyfemlnenee  Grice.”  Jean  Leon  Gei'oirih,  $13,700.  ^ 

“A  Spanish  Lady,  M.  Fortuny  y  Garbo,  deed,  $6,500, 

P^pid’  Zd  Psy^he’Mstatuary),  A.  S.  Tadollni,  dec’d, 

$6<“Saty/  (statuary),  Count  George  Prosper  D’Epinay, 

$23‘Bacchant(?’*  (statuary).  Count  G.  P.  D’Epinay,  $230. 


— __<praiwno*  sold. 

YORK  HERALD. 

EIGHTY  AVOFjffl,  INCLUDING  THREE  SCULPT  b  RES, 
VETCH  $162,550 — riCTURES,  BUYERS  AND 

PRICES.  t  "•  ' 


Melssonior’s  “The  Game  Lost,’’  $20,300. 
Gerorae’s  “L’Eminence  GriSe,”  $13,700. 


G’6rSme’a  "Moliere  Breakfasting  with  Louis 
XIV., “  $12,500. 

These  were  the  principal  prices  realized  at  the 
sale  In  Chickering  Hall  last  evening  of  the  seventy 
seven  paintings,  water  colors  and  three  sculptures, 
forming  the  collection  of  Mr.  James  H.  Stebbins. 

The  first  picture  was  bought  by  Mr.  C.  P.  Hunt¬ 
ington,  the  second  by  Mr.  M.  B.  Mason,  of  Boston, 
and  tho  third  for  Mrs.  William  Waldorf  Astor. 

The  total  of  the  sale  was  $102,550,  which  may  he 
considered  a  good  result.  The  hall  was  crowded, 
and  Auctioneer  Kirby  rattled  the  works  off  in  fine 


1 


style,  the  bidding  often  being  very  spirited. 

There  was  a  long  and  hard  tussle  between  Mr. 
Huntington  and  Mr.  M.  H.  Arnott,  of  Elmira,  old 
time  antagonists  oyer  the  large  Vibert  of  the  Seney 
sale,  about  the  possession  of  the  principal  Meis- 
sonier  sold  last  night.  Mr.  Huntington  did  not  en¬ 
ter  the  contest  until  the  figure  of  $25,000  had  been 
reached. 

Mr.  Arnott  immediately  after  gave  $7,100  for  the 
diminutive  little  example  the  master  called  “Tho 
Stirrup  Cup.” 

MEISSONHSB  FLOS  SELLS  VEKT  WELL. 

It  was  a  somewhat  remarkable  fact  that  there  was 
a  spirited  contest  over  Charles  Meissonier’s  “Story 
of  the  Campaign.”  which  brought  $3,600  from  Mr. 
AV.  A.  Keeler,  Jr.  Was  there  not  a  confusion  of 
father  and  son  in  the  minds  of  some  of  the  bidders. 

For  Vibert’s  “At  a  Spanish  Diligence  Station"  Mr. 
Arnott  gave  $9,100,  and  Mr.  D.  W.  Powers,  of  Roches¬ 
ter,  paid  $7,200  for  Zamagois  ’"Levying  Contribu¬ 
tions.”  Mr.  Keeler  secured  Fortuny’s  "A  Spanish 
Lady”  at  $6,500. 

PICTURES,  PniCES  AND  EUTEES. 

The  following  is  a  list  of  the  works  in  the  order 
sold  and  of  the  prices  obtained,  with  the  names  of 
the  buyers  in  many  cases: — 


1 —  AVylie,  “Five  Brittany  Children” .  $850 

2 —  La  Tour,  “Early  Summer;”  H.  S.  Wilson _  600 

3 —  Micliette,  "Child  in  the  Woods;”  Mr.  Arn¬ 

heim . 175 

4 —  Bierstadt,  “Mount  Hood,  Oregon” .  400 

6 — Vernier,  “Washerwomen  of  Brittany” .  375 

6 —  Dieffenbach,  “Shearing  the  Pet” . .  475 

7 —  Banquiet,  “Curiosity;”  H.  S.  Wilson .  375 

7 — Montelant,  “View  of  Naples” .  275 

9 — Boulanger,  “The  Emir— Scene  in  Algiers”..  975 

10 —  Garrido,  “A  Rainy  Day,  Place  de  la  Con¬ 

corde”... .  500 

11 —  Michette,  “Italian  Children  at  a  Fountain”  75 

12 —  Worms,  “Uncertain  Weather;”  Jacob  H. 

Schiff .  1,200 

13 —  De  Nittis,  "Confidences” .  325 

14 —  Grison,  "The  Wine  Testers” . . .  775 

15 —  Alvarez,  “Hide  and  Seek;”  D.  W.  Powers...  600 

16 —  Villegas,  “Bull  Fighters  Awaiting  Their 

Turn;”  W.  A.  Keeler,  Jr .  1,850 

17 —  Rossi,  “Midnight  Amusement — Venice” _  425 

18—  Agrassot,  "Fortuny’s  Studio” .  675 

19 —  Portaels,  “Bohemian  Cabin” .  175 

20 —  Cervi,  “The  Disputed  Picture;”  W.  A. 

Keeler,  Jr .  1,025 

21 —  V cruet,  “Socialism  and  Cholera;”  N.  G. 

Pope . ; .  275 

22 —  Rico,  “The  Seine,  near  Poissy;”  C.  P.  Hunt¬ 

ington .  1,525 

23 —  Hermann-Leon,  “Country  and  City  Rats;” 

AV.  A.  Keeler.  Jr .  430 

24—  Pasini,  “The  Sultan’s  Escort” . 1,750 


25 —  Loth,  “Artists’  Amusements;”  W.  A  Taylor  1,260 

26—  Saintin,  “The  Two  Oracles;”  M.  H.  Arnott..  550 

27 —  Beaumont,  "Temptation  of  St.  Anthony”..  1,250 

28 —  Goubie,  “The  Honors  of  the  Foot,”  C.  P. 


Huntington .  3,060 

29 —  Beard,  W.  H.,  “In  the  White  Mountains”..  625 

30—  Bertrand,  "Serenade  in  Rome" . 1,025 

31—  Jacomin,  "Faust  and  Mephistopheies;”  J. 

A.  Chamberlain .  950 

32 —  Richter,  “Gallery  of  the  Louvre,” .  775 

33 —  Heullant,  "Arcadia” .  300 

34 —  Heullant,  “Arcadia” . 300 

35—  Bierstadt,  “Sunset  in  the  Yosemite” . 1,550 

36 —  Simonetti,  “The  Listener”  (pen  and  ink).. .  75 

37 —  Simonetti,  "The  Letter”  (pen  and  ink); 

Hugh  N.  Camp . 65 

38 —  Rossi,  “ArabTambourinist”  (pen  and  ink).  35 

39—  Rossi,  “French  Cavalier,  Henri  II."  (pen 

and  ink) . 70 

40 —  Melssonier,  “Ancient  Armor”  (wash  draw- 


41 —  Bonheur,  Rosa,  "Ready  for  the  Market” 

(crayon  drawing);  W.  A.  Keeler .  725 

42 —  Decamps,  “Hound”  (sepia  drawing) .  125 

43—  Berne-Bellecour,  “The  Love  Token”  (water 


44— Vannutelli,  "Day  Dreams,  Campagna” 


45— Madrazo,  Ricardo,  "Street  in  Granada” 

(water  color) . 200 

46_Ten  Kate,  “Dutoh  Guard  Room”  (water 

color);  Edward  Brandon .  175 

47 —  Wissel,  "Butterfly”  (water  color) .  100 

48 —  De  Nittis,  "Chinese  Shop”  (water  color) -  250 

49 —  Rico,  “Boating  Party  in  the  Bois”  (water 

color);  H.  Sohaus .  400 

50  _ Leloir,  Louis,  “After  Supper  One  Must 

Pay”  (water  color);  R.  G.  Dun. .  350 

51  _ Madrazo,  Ricardo,"View  at  Grenada"  (water 

color) . . .  135 

52—  Rioo,  “Washerwomen  at  Poissy”  (water 

color) .  460 

53—  Simonetti,  “A  Concert”  (water  color);  L.  A. 


54 _ Detaille,  “In  the  Franno-Prussian  War" 

(water  color);  Charles  Pratt .  900 

55_Fortuny,  "Pifferari”  (water  color) .  625 

56  _ Meissouier,  "Captain  of  the  Guard.  Louis 

XII.”  (water  oolor);  C.  P.  Huutington _  3,400 

57  _ Troyon,  “Normandy  Cattle;”  Knoedler 

&  Co .  3,060 

58— Detaille,  "Les  Incroyables;”  Charles  W. 

Sandford .  1,200 


59 _ Pettenkoffen,  "Market  Soene  in  Hungary”.  1,600 

60— Zamacois, "A  Court  Jester;”  W.  A.  Keeler,  Jr.  2,475 
Cl _ Vibert,  "The  First  Bom ;”  S.  A.  Coale,  Jr..  3,100 

62—  Daubigny,  “On  the  River  Marne;”  H. 

Schaus .  5,100 

63—  Rico,  "Moorish  House  and  Court,  Gra¬ 

nada;”  C.  P.  Huntington . '  3,275 

64—  Melssonier,  Charles,  “Story  of  the  Cam¬ 

paign;”  W.  A  Keeler,  Jr .  3,600 

66— Zamaeois.  “Levying  Contributions;”  D.  W. 

Powers .  7,200 

60— Vernet,  "The  Original  Study  of  Judith;” 

M.  B.  Mason . . .  875 

67  _ Shreyer,  “Winter  in  Wallachia” .  2,700 

68  _ GSrOme,  “Moliere  Breakfasting  with  Louis 

XIV,;”  Mrs.  AV.  W.  Astor . . . 12,500 

69—  Do  Neuville,  "Hauling  by  the  Capstan;” 

Jacob  H.  Schiff. .  2,000 

70—  Bonheur,  Auguste,  "Normandy  Cattle;”  N. 

G.  Pope .  2,400 


71 —  ATibert,  "At  a  Spanish  Diligence  Station;” 

M.  H.  Arnott .  9.100 

72—  Moissonier,  "The  Game  Lost;”  C.  P.  Hunt¬ 

ington . 26,300 

73—  Meissonier,  “The  Stirrup  Cnp;”  M.  H. 

Arnott .  7,100  I 

74—  Alma-Tadema,  "Clothilda  Introducing  Her 

Children  in  Auns;”  R.  G.  Dun .  6,100 

76 —  Bouguereau,  "Hesitating  Between  Love 

and  Riches;’"  W.  Sutton .  4,600  : 

7G — Gerome,  “L’Eminence  Grise;’’  M.  B. 

Mason . 13,700  ' 

77—  Fortuny,  “A  Spanish  Lady ;”  AAV  A.  Keeler, 

,,  r . .  6,500 

78 —  Tadolini,  “Cupid  and  Psyche”  (marble, 

after  Caudra) ;  D.  W.  Powers .  600 

79—  D’Epinay  “Satyr”  (marble  bust);  A.  Lan- 

fear  Norrie .  230 

80—  D’Epinay,  "Bacchante”  (marble  bust);  A. 

Lanfear  Norrie .  230 

Total . $162,560 


At  the  sale  of  the  Stebbins  collec¬ 
tion  at  Chickering  Hall,  New  York, 
lastTuesday.thefollowing  were  among 
the  prices  obtained:  The  seventy 
pictures  brought  $159,995,  and  the 
sculptures  $1,000.  The  highest  price, 
$26,300,  was  given  for  Meissonier’s 
“The  Game  Lost;”  the  next  was  for 
Gerome’s  “L’Eminence  Grise,”  $13,- 
700,  bought  by  M.  B.  Mason,  of  Bos¬ 
ton,  Gerome’s  “Moliere  Breakfasting 
with  Louis  XIV.”  brought  $10,500 
from  W.  W.  Astor.  Vibert’s  “Spanish 
Dilligence  Station,”  $9,100,  and  “The 
Stirrup  Cup,”  by  Melssonier,  $7,100, 
were  bought  by  M.  H.  Arnott,  Elmi¬ 
ra,  N.  Y.  Fortuny’s  “Spanish  Lady” 
was  sold  for  $6,500  to  W.  A.  Huber; 
Zamacois’  “Seizing  Contributions,” 
$7,200,  to  G.  W.  Powers,  Rochester, 
N.  Y.;  Troyon’s  “Normandy  Cattle,” 
to  Knoedler  &  Co.,  $3,050;  Daubig¬ 
ny’s  “On  the  River  Marne,”  $3,000,  to 
H.  Schaus;  Meissonier’s  “Story  of 
the  Campaign,”  $3,600,  to  W.  A.  Hu¬ 
ber;”  Schreyer’s  “Winter  in  Walla¬ 
chia,”  $2,700;  Meissonier’s  (water  col¬ 
or)  “Captain  of  the  Guard,”  $3,400,  to 
W.  A.  Huber;  Goubie’s  “The  Honors 
of  the  Foot,”  $3,050;  Vallep’s  “Bull 
Fighters  Awaiting  Th6ir  Turn,”  $2,- 
850,  to  W.  A.  Huber;  Worm’s  “Uncer¬ 
tain  Weather,”  $1,200  toJacob  Schiff. 
Rico’s  “The  Seine  Near  Poissy,”  $1,- 
525;  Bougereau’s  “Love  and  Riches,” 
$4,000;  D.  Neuville’s  “Hauling  by  the 
Capstans,”  $2,000,  to  Jacob  H.  Schiff; 
F.  A.  Bonheur’s  “Normandy  Cattle,” 
$2,400  to  N.  E.  Pope;  Alma  Tade- 
ma’s  “Queen  Clotilda,”  $6,100;  Rico’s 
“Moorish  House  and  Court,”  $3,27,5 
to  W.  A.  Huber;  Vibert’s  “The  First 
I  Born,”  $3,100  to  G.  A.  Cole,  Jr.,  Zam- 
acois’s  “A  Court  Jester,”  $2,475  to  W. 
A.  Huber;  Bierstadt’s  “Sunset  in  Yo¬ 
semite,”  $1,500;  Pasini’s  “The  Sul¬ 
tan’s  escort.”  $1,750. 


CATALOGUE 


OF 

THE  PRIVATE  COLLECTION  OF 

PAINTINGS  AND  SCULPTURE 

BELONGING  TO 


Mr.  JAMES  H.  STEBBINS 

NEW  YORK 


EDITION  T)E  LUXE 


NEW  YORK 

AMERICAN  ART  ASSOCIATION,  PUBLISHERS 

1889 


Copyright,  1888, 

By  AMERICAN  ART  ASSOCIATION. 
[All  rights  reserved.  ] 


Press  of  J.  J.  Little  &  Co., 
Astor  Place,  New  York. 


SPECIAL  NOTICE 

'T'HIS  COLLECTION  OF  PAINTINGS  WILL  BE  PLACED 
1  ON  PUBLIC  EXHIBITION 

At  the  American  Art  Galleries 

NOS.  6  AND  8  EAST  TWENTY-THIRD  STREET 
MADISON  SQUARE,  NEW  YORK 

BEGINNING  THURSDAY,  JANUARY  THIRTY-FIRST,  AND 
CONTINUING,  DAY  AND  EVENING  (SUNDAYS  EXCEPTED) 
UNTIL,  AND  INCLUDING,  THE  DATE  OF  SALE,  WHICH 
WILL  BE  TUESDAY  EVENING,  FEBRUARY  TWELFTH 
1889,  AND  TAKE  PLACE 

At  Chickering  Hall 

FIFTH  AVENUE  AND  EIGHTEENTH  STREET 
BEGINNING  PROMPTLY  AT  EIGHT  O’CLOCK 

AMERICAN  ART  ASSOCIATION,  -  -  MANAGERS 


THOMAS  E.  KIRBY,  AUCTIONEER 
1889 


EDITION  T>E  LUXE  LIMITED  TO  Soo  COPIES 


Subscriber’s  S\[o.  AIL, 


ILLUSTRATIONS 

(For  list  of  Etchings  see  page  7.) 


ZINC  ETCHINGS 


REPRODUCED  BY  W.  KURTZ’  IMPROVED  MEISENBACH  METHOD 


SUBJECT 


ARTIST 


PAGE 


Five  Brittany  Children . 

Mount  Hood,  Oregon . 

Washerwomen  of  Brittany  . 

Shearing  the  Pet  . 

Curiosity . 

a 

The  Emir — Scene  in  Algiers 
A  Rainy  Day,  Place  de  la  Concorde 
Uncertain  Weather  ..... 
Confidences  ....... 

The  Wine  Testers . 

Hide  and  Seek  . 

Bull-Fighters  Awaiting  Their  Turn  . 
Midnight  Amusement  in  the  Olden  Time 

Fortuny’s  Studio . 

The  Disputed  Picture . 

Socialism  and  Cholera . 

The  Seine  near  Poissy  .  .  .  .  . 

Country  and  City  Rats  .... 

The  Sultan’s  Escort  .  .  .  .  . 

Artists’  Amusements  During  Carnival,  Rome 
The  Two  Oracles  ...... 

The  Temptation  of  Saint  Anthony 
The  Honors  of  the  Foot  .... 

View  in  the  White  Mountains 


Robert  Wylie  ...  9 

Albert  Bierstadt  12 

Emile  Louis  Vernier  13 

Anton  Heinrich  Dieffenbach  14 
Charles  Baugniet  .  .  15 

Gustave  R.  C.  Boulanger  .  17 

E.  L.  Garrido  .  .  19 

Jules  Worms  .  .  .21 

Joseph  de  Nittis  .  .  23 

Adolphe  Grison  .  24 

Luis  Alvarez  .  .  25 

Jose  Villegas  .  .  .26 

Lucius  Rossi  .  27 

Joaquin  Agrassot  .  .28 

C.  Cervi  ...  30 

Emile  Jean  Horace  Vernet  32 
Martin  Rico  .  .  -33 

Charles  Leon  Hermann  .  34 

Alberto  Pasini  35 

F.  E.  Loth  ...  36 

Jules  Emile  Saintin  .  38 

C.  Edouard  de  Beaumont  39 
Jean  Richard  Goubie  .  40 

William  H.  Beard  .  41 


6 


ILLUSTRATIONS. 


ZINC  ETCHINGS— CONTINUED 


SUBJECT 

ARTIST 

PAGE 

Serenade  in  Rome . 

James  Bertrand 

42 

Faust  and  Mephistopheles 

A.  L.  Jacomin 

44 

The  Gallery  of  the  Louvre 

Edouard  Richter 

45 

Arcadia  (pair)  . 

Felix  A.  Heullant  .  46,  47 

Sunset  in  the  Yosemite . 

Albert  Bierstadt 

48 

Ancient  Armor  . 

J.  L.  E.  Meissonier 

53 

Ready  for  the  Market  .... 

Mile.  Marie  Rosa  Bonheur 

54 

Hound  . 

56 

The  Love  Token  . 

E.  P.  Berne-Bellecour 

57 

Day  Dreams  on  the  Campagna 

C.  S.  Vannutelli 

58 

Dutch  Guard-Room . 

Herman  F.  Ten  Kate 

61 

Chinese  Shop . 

Joseph  de  Nittis 

63 

Boating  Party  in  the  Bois  de  Boulogne  . 

Martin  Rico 

64 

After  the  Supper,  One  Must  Pay  . 

Louis  Alexandre  Leloir 

65 

Washerwomen  at  Poissy  .... 

Martin  Rico 

68 

A  Concert  . 

Attilio  Cavaliere  Simonetti 

69 

Canova’s  Group,  Cupid  and  Psyche 

Adam  Scipione  Tadolini  . 

109 

ETCHINGS 


EACH  AND  EVERY  IMPRESSION  APPROVED  AND  ENDORSED  BY 

THE  ARTIST-ETCHER 


PAINTER 

SUBJECT 

ETCHER 

PAGE 

W.  A.  Bouguereau 

Hesitating  Between  Love  and 
Riches  . 

Frederick  Dielman,  Frontispiece 

J.  B.  Edouard  Detaille 

Scene — Franco-Prussian  War 

S.  J.  Ferris  . 

70 

Mariano  Fortuny 

PlFFERARI . 

S.  J.  Ferris 

•  71 

J.  L.  E.  Meissonier 

Captain  of  the  Guard,  Louis  XIII 

C.  Y.  Turner 

72 

Constantine  Troyon  . 

Normandy  Cattle 

R.  Swain  Gifford 

•  74 

J.  B.  Edouard  Detaille 

Les  Incroyables — Forest  of  St. 
Germain  .... 

Gerome  F erris 

75 

Prof.  A.  von  Pettenkoffen 

Market  Scene  in  Hungary 

Gerome  Ferris  . 

•  77 

Edouard  Zamajo'is 

A  Court  Jester 

Wm.  St.  John  Harper 

78 

Jean  Georges  Vibert  . 

The  First-Born  .... 

F.  Raubicheck  . 

•  79 

C.  F.  Daubigny  . 

Landscape,  on  the  River  Marne 

Thomas  Moran 

81 

Martin  Rico 

Moorish  House  and  Court,  Gran¬ 
ada  . 

Stephen  Parrish 

.  82 

Jean  Charles  Meissonier 

Story  of  the  Campaign 

S.  J.  Ferris  . 

•  83 

Edouard  ZamaijoVs 

Levying  Contributions 

Gerome  Ferris  . 

.  84 

E.  J.  Horace  Vernet 

The  Original  Story  of  Judith 

S.  J.  Ferris  . 

86 

Adolf  Schreyer 

Winter  in  Wallachia  . 

Frederick  Dielman 

.  87 

Jean  Leon  Gerome 

MoLikRE  Breakfasting  with 

Louis  XIV . 

G.  Mercier 

89 

Alphonse  Marie  de  Neuville 

Hauling  by  the  Capstan,  Nor¬ 
mandie  . 

Stephen  Parrish 

.  92 

Franjois  Auguste  Bonheur  . 

Normandy  Cattle  . 

R.  Swain  Gifford 

94 

Jean  Georges  Vibert  . 

Scene  at  a  Spanish  Diligence 
Station  .... 

Wm.  St.  John  Harper 

•  95 

Jean  Louis  Ernest  Meissonier 

The  Game  Lost 

F.  Raubicheck 

97 

Jean  Louis  Ernest  Meissonier 

The  Stirrup  Cup 

C.  Y.  Turner 

■  99 

Laurenz  Alma-Tadema 

Queen  Clotilda,  Wife  of  Clovis, 
Instructing  Her  Children  in 
Arms . 

G.  Mercier 

100 

Jean  Leon  Gerome 

L’Eminence  Grise  . 

Hamilton  Hamilton 

.  104 

Mariano  Fortuny 

A  Spanish  Lady  .... 

F.  W.  Freer  . 

107 

ARTISTS  REPRESENTED 


no. 

NO. 

Agrassot,  Joaquin  .... 

.  18 

Leloir,  Louis  Alexandre 

50 

Alma-Tadema,  Laurenz 

74 

Leon-Hermann,  Charles 

•  23 

Alvarez,  Luis  .... 

•  15 

Loth,  F.  E. 

25 

Baugniet,  Charles 

7 

Madrazo,  Ricardo  . 

45,  5i 

Beard,  William  H. 

■  29 

Meissonier,  J.  L.  E.  . 

40,  56,  72,  73 

Berne-Bellecour,  E.  P. 

43 

Meissonier,  Jean  Charles  . 

• 

•  64 

Bertrand,  James  .... 

•  30 

Michetti,  F.  P.  . 

3,  11 

Bierstadt,  Albert 

•  4.  35 

Montelant,  J.  O.  de 

.  8 

Bonheur,  Mlle.  Marie  Rosa 

•  4i 

Pasini,  Alberto, 

• 

24 

Bonheur,  Franqois  Auguste  . 

70 

Pettenkoffen,  Prof.  A.  von 

. 

•  59 

Bouguereau,  William  Adolphe  . 

•  75 

Portaels,  Jean  Francois 

19 

Boulanger,  Gustave  R.  C. 

9 

Richter,  £douard  . 

•  32 

Cervi,  C. . 

20 

Rico,  Martin 

22,  49, 

52,  63 

Daubigny,  C.  F.  .  .  .  . 

62 

Rossi,  Lucius  .... 

17, 

38,  39 

Decamps,  A.  G . 

.  42 

Saintin,  Jules  Emile, 

26 

Detaille,  J.  B.  Edouard, 

54,  58 

Scheyer,  Adolf 

.  67 

Dieffenbach,  Anton  Heinrich 

.  6 

SlMONETTI,  ATTILIO  CAVALIERE 

•  36, 37, 53 

De  Beaumont,  C.  Edouard 

27 

Tadolini,  Adam  Scipione 

•  78 

D’Epinay,  Count  Georges  Prosper 

79,  80 

Ten  Kate,  Herman  F. 

46 

De  Neuville,  Alphonse  Marie 

69 

Troyon,  Constantine  . 

•  57 

De  Nittis,  Joseph  .... 

13,  48 

Vannutelli,  Cavaliere  Scipione 

44 

Fortuny,  Mariano  .  .  .  . 

55,  77 

Vernet,  E.  J.  Horace, 

21,  66 

Garrido,  Edouardo  L£on 

10 

Vernier,  ISmile  Louis 

. 

5 

Ger6me,  Jean  Leon  .  .  .  . 

68,  76 

Vibert,  Jean  Georges  . 

. 

61,  71 

Goubie,  Jean  Richard  . 

.  28 

Vill£gas,  Jose 

• 

16 

Grison,  Adolphe . 

14 

Worms,  Jules  .... 

. 

.  12 

Heullant,  Felix  Armand 

33,  34 

Wessel,  O.  ... 

. 

47 

Jacomin,  Alfred  Louis 

•  3i 

Wylie,  Robert, 

1 

La  Tour,  Claude  S.  H.  de 

2 

ZamaqoIs,  ISdouard  . 

. 

60,  65 

VIGNETTES  OF  PROMINENT  ARTISTS 


ETCHED  BY  S.  J. 

FERRIS 

AND  GEROME  FERRIS 

PAGE 

page 

Alma-Tadema,  Laurenz 

IOO 

GfiROME,  Jean  L£on 

104 

Alvarez,  Luis . 

•  25 

Grison,  Adolphe 

.  24 

Baugniet,  Charles  .... 

15 

Leloir,  Louis  Alexandre  . 

65 

Berne-Bellecour,  E.  P.  . 

•  57 

Madrazo,  Ricardo  . 

•  59 

Beard,  Wm.  H . 

41 

Meissonier,  J.  L.  E.  . 

97 

Bertrand,  James  .... 

•  42 

Montelant,  J.  O.  de 

.  16 

Bonheur,  Mlle.  Rosa  Marie 

54 

Pasini,  Alberto  .... 

35 

Bonheur,  Francois  Auguste  . 

•  94 

Portaels,  Jean  Francois 

.  29 

Bouguereau,  William  Adolph  • 

102 

Rico,  Martin  .... 

33 

Boulanger,  Gustave  R.  C. 

■  17 

Saintin,  Jules  Emile 

•  36 

Daugbiny,  C.  F . 

81 

Schreyer,  Adolf  .... 

87 

Detaille,  J.  B.  Edouard 

•  75 

Troyon,  Constantine 

74 

Decamps,  A.  G . 

56 

Vernet,  E.  J.  Horace  . 

86 

D’Epinay,  Count  George  Prosper  . 

.  hi 

Vibert,  Jean  Georges 

•  95 

De  Beaumont,  Charles  Edouard 

39 

Worms,  Jules  .  .  .  . 

21 

De  Neuville,  Alphonse  Marie 

•  92 

Wylie,  Robert  .... 

•  9 

De  Nittis,  Joseph  .... 

63 

ZAMAgoIs,  Edouard 

.  84 

Fortuny,  Mariano 

.  107 

> 


WYLIE  (Robert),  ....  .  Deceased  // f-<rv 


Born  in  the  Isle  of  Man ,  1839.  Died  in  Brittany ,  1877.  Brought  to 
America  when  a  child.  Pupil  of  the  Pennsylvania  Academy ,  Philadel- 
phia,  the  directors  of  which  sent  him  in  1863  to  study  in  France. 
Medal  at  Paris ,  1872. 


No.  I 

FIVE  BRITTANY  CHILDREN. 

9  X  io|. 


To  Robert  Wylie  is  due  the  discovery  and  development  of  Brittany 
as  a  mine  of  artistic  material.  He  it  was  who  first  settled  to  study  and 
paint  at  Pont  Aven,  where,  now  that  he  is  dead,  has  sprung  up  one  of 
the  most  extensive  permanent  art  colonies  in  Europe.  Brittany  affords 
material  for  the  painter  of  figures,  of  cattle,  of  landscape,  and  of  the  sea. 
Its  picturesqueness  is  endless,  and  its  variety  of  pictorial  wealth  inexhaustible. 
The  people  in  particular,  preserving  as  they  do  the  manners  and  costumes 
of  the  past,  and  being  but  slightly  modernized  in  spirit,  furnish  the  artist 
with  abundant  material.  It  was  among  them  that  Wylie  found  the 
successes  which  made  him  famous. 

The  scene  is  the  interior  of  some  showman’s  booth  at  a  rural  fair. 
The  five  children,  perfect  types  of  French  peasant  life  of  the  younger 
generation,  are  watching  some  absorbing  show.  One  little  girl  is  seated 
in  rapt  attention.  A  second  has  been  disturbed  by  a  teasing  younger 
child,  and  turns  to  rebuke  it.  Behind  are  two  boys,  one  standing,  serious 
and  thoughtful,  with  his  whole  interest  engrossed  in  the  performance.  The 
individualities  of  the  children  are  strongly  and  accurately  defined,  and  the 
delineation  of  expression  is  an  important  detail.  The  coloring  is  rich  and 
subdued. 

9 


J~crV' 


LA  TOUR  (Claude  Sebastian  Hugard  De), 


Paris 


i.  f. 


Born  in  Savoy ,  1818.  Landscape  painter.  Pupil  of  Diday.  Medals ,  1844, 
1846. 


No.  2 

EARLY  SUMMER. 

(EFFET  D’ffTE.) 

15  X  12. 


When  the  brow  of  June  is  crowned  by  the  rose, 

And  the  air  is  fair  and  faint  with  her  breath. 

Then  the  Earth  hath  rest  from  her  long  birth  throes  ; 

The  Earth  hath  rest  and  forgetteth  her  woes, 

As  she  watcheth  the  cradle  of  Love  and  Death, 

When  the  brow  of  June  is  crowned  by  the  rose. 

Emily  Pfeiffer. 


The  foliage  is  fresh  with  the  vivid  greens  that  have  been  unscorched 
by  the  sun,  and  the  streamlet  still  holds  the  coolness  of  spring  among  its 
ripples.  Some  cattle  give  life  to  the  landscape,  and  a  village  lends  interest 
to  the  background.  The  delicate  suggestion  of  this  period  of  the  year, 
whose  beauties  are  so  subtly  defined  and  so  difficult  to  render,  is  conveyed 
with  a  remarkably  sympathetic  and  appreciative  touch. 


10 


MICHETTI  (Francesco  Paolo), 


Naples 


Born  at  Chieti,  near  Naples,  1852.  Studied  in  Naples  under  Dalbono ; 
later  in  Paris.  Medals  at  Rome,  Turin ,  Flore?ice,  and  Parma.  Cheva¬ 
lier  of  the  Order  of  the  Crown  of  Italy. 


No.  3 

CHILD  IN  THE  WOODS. 

(ENFANT  DANS  LES  BOIS.) 

Si  x  7. 


A  wood  interior  in  the  most  verdurous  season.  The  late  afternoon 
sunlight  plays  amid  the  foliage  of  the  birch  trees,  filling  the  forest  with 
a  warm,  green,  and  luminous  mistiness.  A  child,  clad  in  blue,  with  a  red 
cap,  gives  the  interest  of  life  to  the  picture. 


New  York 


ijl  4JMV 


BIERSTADT  (Albert),  N.  A., 

Born  in  Diisseldorf ,  1830.  Brought  to  America  at  an  early  age.  In 
1853  he  returned  to  Diisseldorf  and  entered  the  Academy  there  j  after- 
ward  studied  in  Rome ,  Switzerland ,  and  Germany.  Elected  Member 
National  Academy ,  i860  ;  Chevalier  of  the  Legion  of  Honor. 


No.  4 

MOUNT  HOOD,  OREGON. 

1 3  x  19- 


Thirty  miles  beyond  the  Columbia  River,  winding  its  reddening  way 
into  the  sunset  of  the  Pacific,  the  noble  peak  of  the  great  mountain  of 
the  Cascade  Range  pierces  the  burning  sky  of  evening. 

Mount  Hood  measures  over  eleven  thousand  feet  in  height,  and  presents 
a  magnificent  spectacle  viewed  o\  er  the  fertile  valleys  of  the  Columbia  and 
the  Willamette  rivers.  The  range  to  which  it  belongs  is  of  volcanic 
origin,  and  there  are  Indian  legends  that  Mount  Hood  itself  has  been 
seen  in  eruption  within  the  century.  It  is  sufficiently  quiescent  now, 
however.  The  vapors  of  mountain  brooks  still  wreathe  about  it  in  the 
cool  air  of  dawn,  but  the  fierce  breath  of  subterranean  fires  is  stilled. 
Mount  Hood  was  one  of  the  last  peaks  on  the  Western  Continent  to  be 
explored  by  human  feet.  For  many  years  its  savage  and  dreary  upper 
slopes  defied  human  courage  and  endurance.  Its  secret  was  finally  wrested 
from  it,  and  quite  recently  some  very  interesting  meteorological  experi¬ 
ments  were  made  by  a  United  States  surveying  party  that  scaled  its 
summit. 

The  date  of  Mr.  Bierstadt’s  picture  is  1868. 

12 


: 


> 


VERNIER  (Emile  Louis),  ....  Paris 

Born  at  Lons-le-Saulnier ,  France.  Pupil  of  Collette.  Medals,  1869,  1870. 


No.  5 

WASHERWOMEN  OF  BRITTANY. 

(BLANCHISSEUSES  BRETONNES.) 

1 6  x  28. 


Rugged  land  of  the  granite  and  oak, 

I  depart  with  a  sigh  from  thy  shore, 

And  with  kinsman’s  affection  a  blessing  invoke 
On  the  maids  and  the  men  of  Arvdr. 

Samuel  Ferguson. 


The  sea  is  a  species  of  mother,  albeit  often  a  harsh  and  cruel  one, 
to  the  Breton  poor.  From  her  they  draw  their  sustenance,  the  finny 
harvest  which  constitutes  their  meagre  earnings  and  provides  them  with 
scanty  and  rude  fare,  their  fuel  and  often  their  clothing,  which  the  storm 
sends  ashore  to  them,  as  spoil  of  the  wreck.  While  the  men  brave  its 
perils  off  shore,  the  women  forage  along  the  strand,  gathering  seaweed 
and  mussels,  collecting  the  drift  cast  up  by  the  waves,  or  among  the  pools 
left  in  the  channelled  rocks  by  the  receding  tide,  beating  out  their  coarse 
linens  and  cleansing  their  garments,  which  seem  never  too  old  or  worn 
out  to  be  unfit  for  use.  It  is  a  life  of  perpetual  privation  and  limitless 
labor,  which  is  fitly  lived  in  the  presence  of  the  restless  and  melancholy 
sea,  under  a  sky  which  swells  with  fitful  showers  and  bursts  in  the  sudden 
trumpetings  of  a  capricious  storm. 


13 


DIEFFENBACH  (Anton  Heinrich), 


Berlin 


Born  in  Wiesbaden,  1831.  Genre  painter.  Pupil  in  Diisseldorf  of 
Jorda7i.  Lived  for  some  years  in  Paris. 

No.  6 

SHEARING  THE  PET. 

(LA  TONTE  DU  CANICHE.) 

18  x  23. 


Hector  is  having  his  toilet  made,  while  his  more  diminuLve  friend, 
Gogo,  watches  his  comrade,  perched  upon  the  upturned  tub,  and  resting 
passive  under  the  master’s  shears,  with  uneasy  surprise.  And  what  a  fine 
type  is  this  master,  an  old  soldier  rusting  his  peaceful  years  away  in  the 
snug  retirement  of  a  porter’s  lodge,  caging  pet  cats  instead  of  capturing 
warlike  prisoners,  and  cropping  the  coats  of  friendly  poodles  instead  of  the 
ears  of  a  foreign  foeman  !  The  same  strong  hand  that  wrested  the  Cross 
of  the  Legion,  shining  on  his  shabby  breast,  from  the  fury  of  battle, 
touches  with  the  firm  gentleness  of  a  kindly  master  the  confiding  pet  that 
comes  under  his  control  for  artistic  embellishment.  It  is  an  admirable 
example  of  the  old  campaigner  of  the  great  Napoleonic  era  that  the  artist 
paints.  Of  such  men  neither  dogs  nor  their  little  mistresses  need  cherish 
mistrust  or  fear.  That  honest  face,  bronzed  in  the  cannon  smoke  and 
the  blaze  of  burning  gunpowder,  indexes  a  brave  and  truthful  heart,  that 
has  fairly  won  the  peaceful  corner,  in  which  its  master  may  puff  his  pipe 
and  see,  in  the  softly  curling  smoke  of  his  glowing  bowl,  visions  of  the 
stormy  past  which  has  brought  him  its  placid  reward.  In  such  episodes 
as  this,  war  makes  to  the  human  race  some  extenuation  of  its  heroic 
horrors  and  its  dark  despair. 

The  date  of  the  picture  is  1867. 

14 


I 

* 

i; 

i 

•** 


BAUGNIET  (Charles), . Paris 

Born  in  Brussels ,  1814.  Pupil  of  Paelinck  atid  of  Willems.  First  became 
known  through  lithography.  Member  of  Ghent  Acade?ny  in  1836.  Ap¬ 
pointed  designer  to  the  King  of  Belgium,  1841.  Order  of  Leopold ,  1843. 
Officer  of  the  Same ,  1872.  Order  of  Isabel  the  Catholic  of  Spain. 
Order  of  Branche-Ernstein  of  Saxony.  Order  of  Christ  of  Portugal. 

No.  7 

CURIOSITY. 

(LES  INDISCRETES.) 

26^  x  21. 

Although  the  proverb  assures  us  that  the  name  of  curiosity  is  woman, 
the  trait  is,  it  is  but  fair  to  assume,  not  confined  entirely  to  the  sex.  Key¬ 
hole  confidences  are  quite  as  dear  to  man.  There  is,  however,  a  lack  of  dig¬ 
nity  about  a  male  listener  which  impels  the  painter  naturally  to  woman  when 
he  desires  to  weave  an  allegory  out  of  the  act  of  eavesdropping.  Woman  is 
always  graceful  and  charming,  even  in  such  contingencies  as  M.  Baugniet  rep¬ 
resents.  There  is  a  dainty  elegance  about  the  fair  being  in  blue  and  white, 
with  her  ear  to  the  key-hole,  and  a  lissom  charm  to  her  companion  in  pink  and 
white,  who  is  standing  and  listening  to  her  report,  that  one  would  seek  in  vain 
in  two  members  of  the  other  sex  engaged  in  the  same  surreptitious  employ¬ 
ment.  We  may  imagine,  from  their  expressions,  moreover,  that  the  subject  of 
discussion  on  the  other  side  of  the  closed  door  is  of  paramount  interest  to  one 
of  the  twain.  In  such  rich  houses  love  and  diplomacy  go  hand  in  hand,  and 
it  may  be  a  marriage  settlement,  or  a  proposal  from  an  ardent  lover  to  a  parent 

whose  verdict  is  in  doubt,  that  is  screened  by  the  jealous  barrier. 

15 


✓ 


/ 


MONTELANT  (J.  O.  De), 


No.  8 

VIEW  OF  NAPLES. 

21  X  33. 


Rome 


Naples  !  thou  heart  of  men  which  ever  pantest 
Naked,  beneath  the  lidless  eye  of  heaven  ! 

Elysian  city,  which  to  calm  enchantest 
The  mutinous  air  and  sea  ! 

Percy  Bysshe  Shelley. 


It  is  the  Naples  of  Shelley,  that  M.  de  Montelant  paints, — the  Naples 
drowsing  in  the  shadow  of  Vesuvius,  lapping  its  lazy  feet  in  the  warm  wave¬ 
lets  of  the  sapphire  sea.  There  is  no  hint  of  the  long  troubles  of  its  vicissitu- 
dinous  history,  of  the  savage  romance  of  its  existence  of  conquest  and  revolt, 
of  tyranny  and  oppression,  in  this  easygoing  city,  basking  in  the  summer  sun 
amid  a  nature  that  gives  one  a  hint  at  the  pleasures  of  Paradise.  It  has  been 
said  that  Naples,  like  some  handsome  woman,  has  a  talent  for  not  showing 
her  age.  Yet  it  was  in  the  shadow  of  Vesuvius  that  the  Greeks  set  up  their 
colony  of  Parthenope  and  that  Virgil  was  buried.  It  was  here  that  even  after 
Rome  conquered  Greece,  the  Greek  refinement  and  the  Greek  tongue  con¬ 
tinued  to  hold  their  own,  and  that,  through  all  the  black  waste  of  the  Gothic 
and  Byzantine  wars,  a  singularly  spirited  and  independent  people  preserved 
their  individuality  and  much  of  their  independence.  And  even  in  these  days 
of  his  degeneracy  the  Neapolitan  is  one  of  the  distinct  and  notable  types  of 
Italy. 

16 


•* 


BOULANGER  (Gustave  R.  C.),  .  .  Deceased 

Born  in  Paris,  April  25,  1824.  Pupil  of  Jollivet  and  of  Paul  Delaroche. 
Won  the  Prix  de  Rome  in  1849.  Medals,  1857,  1859,  1863,  1878. 
Chevalier  of  the  Legion  of  Honor ,  1865.  Member  of  the  Institute  of 
France,  1882.  Died,  1888. 

No.  9 

THE  EMIR— SCENE  IN  ALGIERS. 

(C’EST  L’EMIR.) 

25^-  x  i8|. 

Poor,  vagrant  scions  of  the  Prophet’s  race, 

Who  beg  an  alms  with  all  a  giver’s  grace. 

Francois  Coppee. 

The  only  inheritance  that  the  sons  of  Fatima,  the  daughter  of 
Mohammed,  have  received  by  their  descent  from  the  prophet,  is  the  title  emir 
and  the  privilege  of  the  green  turban,  which  found  such  favor  in  the  eyes  of 
the  prophet  himself.  But  they,  thanks  to  these  facts,  still  encounter  a  certain 
honor  entirely  independent  of  the  poverty  into  which  most  of  the  numerous 
progeny  that  have  grown  out  of  the  prophet’s  grandchildren  have  fallen. 
Thus,  an  emir  of  prophetic  descent  can  count  on  being  greeted,  even  as  a  wan¬ 
dering  mendicant,  by  an  emir  of  the  authoritative  order  on  terms  of  equality. 
The  word  6mir  signifies,  in  effect,  an  independent  chieftain,  as  well  as  a 
descendant  of  the  prophet.  In  M.  Boulanger’s  picture  we  see  an  emir  by 
birth  and  an  emir  by  the  fact  of  his  tribal  authority  meeting  in  an  oasis  in  the 


/  ^  yj  - 

4  a 


17 


THE  EMIR — SCENE  IN  ALGIERS. 


desert.  In  the  person  of  the  one  we  have  an  emblem  of  a  deteriorated  race, 
living  upon  the  traditions  of  its  origin.  In  the  other  is  embodied  the  fiery 
and  manly  spirit  of  some  family  of  warriors  of  the  desert  who  owe  their  title 
to  their  prowess  alone.  The  contrast  is  well  made.  The  haughty  young 
chieftain  receives  the  humble  descendant  of  the  Commander  of  the  Faithful 
with  a  certain  degree  of  disdain.  Still  he  extends  to  him,  for  the  sake  of  the 
tradition  he  represents,  the  welcome  of  a  peer,  and  the  rude  hospitality  of  his 
scanty  commissariat. 

The  recent  death  of  Boulanger  was  sudden  and  almost  tragic.  He 
was  a  man  of  large  habit  and  a  noble  self-regard.  One  afternoon  he  stood 
at  his  easel,  busy  with  the  sketch  of  an  Arab  woman  carrying  a  richly 
embroidered  saddle.  The  next  evening  he  and  another  painter  went 
together  to  a  friend’s  house  to  dinner.  As  they  passed  the  house  where 
Eugene  Scribe  lived,  they  spoke  of  the  death  of  that  distinguished  dramatist. 
Scribe  was  riding  in  a  carriage,  and  he  died  so  suddenly  that  he  could  not  lift 
his  hand  to  the  check  cord,  which  communicated  with  the  coachman. 

“  That  man,”  said  Boulanger,  “  had  luck  all  through  his  life,  but  the  thing 
I  envy  him  the  most  was  his  way  of  leaving  the  world,  without  knowing  that 
he  was  going.” 

The  dinner  party  was  a  pleasant  one,  Boulanger  in  particular  being  full 
of  anecdotes  and  souvenirs.  When  he  left  the  table  he  began  to  hum  a  tune. 
His  friends  left  him  at  the  door  of  his  house,  where  he  also  had  his  studio.  A 
speaking-tube  was  within  reach  of  his  bed,  placed  there  during  an  illness 
which  he  had  two  years  ago.  The  janitor  of  the  house  heard  a  feeble  call, 
and  on  placing  his  ear  to  this  tube  heard  the  artist,  in  tones  so  weak  that  he 
could  hardly  make  them  out,  say  :  “  Go  for  my  doctor.”  When  the  physician 
came,  he  found  Boulanger  dead,  still  holding  the  end  of  the  speaking-tube  in 
his  hand. 

The  picture  is  dated  1871. 

18 


Paris 


GARRIDO  (Edouardo  Leon),  . 

Born  at  Madrid ,  1854.  Pupil  of  V.  Palmaroli. 

No.  10 

A  RAINY  DAY,  PLACE  DE  LA  CONCORDE. 

(UN  JOUR  DE  PLUIE,  PLACE  DE  LA  CONCORDE.) 

15  x  18. 

The  place  of  peace  to-day  !  ’tis  easy  said, 

When  every  inch  space  of  thy  stones  is  red, 

When  all  the  rain  that  gracious  Heaven  brings, 

Still  cannot  purge  thee  of  the  blood  of  kings  ! 

Robert  Browning. 

In  1747  Louis  XV.  accorded  to  the  good  citizens  of  Paris  permission  to 

erect  a  statue  to  him,  and  they  set  it  up  in  a  square  called  the  Place  Louis  XV. 

In  1792,  when  the  Republic  had  been  set  up,  the  Assembly  decreed  the 

demolition  of  this  monument,  and  had  it  replaced  by  a  tawdry  plaster  figure, 

colored  gaudily,  of  Liberty.  The  title  of  the  square  was  changed  to  the  Place 

de  la  Revolution ,  and  the  guillotine  was  set  up  on  the  spot  where  now  stands 

the  Obelisk  of  Luxor.  The  elaborately  sculptured  base  of  the  Louis  XV. 

statue,  indeed,  served  also  as  the  foundation  for  the  scaffold  on  which  Louis 

XVI.  and  so  many  others  of  royal  and  commoner  blood  perished.  In  1799  the 

Reign  of  Terror  being  over,  the  title  was  changed  to  that  of  th &  Place  de  la 

Concorde,  and  since  then  the  work  of  improvement  has  been  carried  on  that 

renders  it  with  its  Obelisk,  its  fountains,  statues,  columns,  and  esplanade,  the 

finest  public  square  in  Paris,  if  not,  indeed,  in  the  world.  The  Place  de  la 

Concorde  has  on  one  hand  the  palace  and  garden  of  the  Tuileries ,  and  on  the 

* 

other  the  long  vista  of  the  Avenue  des  Champs  Elysdes,  terminating  in  the 
Arc  de  Triomphe  in  the  Place  de  L'Etoile.  In  the  other  direction  are  the 
Garde  Meuble  and  the  Madelahie,  seen  through  the  Rue  Royale,  and  the 
Palace  Legislatif,  beyond  the  Seine,  and  the  Pont  de  la  Concorde.  Spacious, 
brilliant,  and  ever  alive  with  the  animation  of  a  great  city,  it  invites  the 
painter’s  attention  by  a  constant  succession  of  changing  pictures,  in  fair 
weather  or  foul. 


*  7^  MICHETTI  (Francesco  Paolo),  .  .  .  Naples 


Born  at  Chieti ,  near  Naples ,  1852.  Studied  in  Naples  under  Dalbono  ;  later 
in  Paris.  Medals  at  Rome ,  Turin ,  Florence ,  and  Parma. 


No.  11 

ITALIAN  CHILDREN  AT  A  FOUNTAIN. 

(ENFANTS  A  LA  FONTAINE.) 

8  x  4J. 


Children  are  drawing  water  at  a  crumbling  well-side  in  the  neglected 
garden  of  an  ancient  palazzo.  The  stone  wall  of  the  garden  and  the  ground 
are  dappled  by  the  sunshine  with  flecks  of  gold. 

Dated  1871. 


20 


WORMS  (Jules), . Paris 

Born  in  Paris ,  1832.  Genre  painter.  Pupil  of  Lafosse.  Medals :  Paris , 
1867,  1868,  1869,  1878  (. Exposition  Univer selle).  Legion  of  Honor,  1876. 

No.  12 

UNCERTAIN  WEATHER. 

(TEMPS  INCERTAIN.) 

15  x  18. 

And  woman’s  will — how  says  the  ancient  sage  ? 

So  like  the  veering  of  the  weather  vane, 

Created  for  man’s  pleasure  and  his  pain, 

And  quite  above  his  blandishments  or  rage. 

Lord  Byron. 


The  weather  and  women,  says  an  old  Spanish  saw,  share  the  same  fickle 
temper.  There  is  a  double  expression  of  perplexity  on  the  face  of  the  gentle¬ 
man  in  the  scarlet  coat,  with  the  white  vest  and  gay  breeches,  who  is  putting 
up  his  hand  to  make  sure  by  the  moisture  on  it  that  the  rain  has  begun  to  fall, 
that  suggests  his  appreciation  of  this  fact.  The  party  have  been  breakfasting 
al  fresco ,  in  a  suburban  garden,  near  some  Spanish  city,  at  a  period  early 
in  the  century,  as  their  dress  betokens.  The  roof  of  the  little  hostelry  is  seen 
above  the  verdure  of  the  garden  crowned  with  its  splendid  weathercock.  An 
old  servant  in  livery  opens  an  umbrella,  while  the  two  pretty  girls,  whom  their 
elderly  escort  has  been  entertaining,  shrink  poutingly  within  their  flimsy  sum¬ 
mer  finery,  with  the  pleasure  of  the  day  spoiled  by  the  anticipation  of  the 

21 


/?  /  -Z  dHsD 


c 


/ 


UNCERTAIN  WEATHER. 


drenching  to  come.  It  is  probably  in  this  moment  that  their  escort  experi¬ 
ences  a  menace  as  serious  as  that  of  the  weather  itself.  It  promises  him,  who 
is  just  at  that  age  to  appreciate  a  pretty  girl’s  reproaches,  endless  reproaches 
for  ruined  ribbons  and  bedraggled  furbelows.  The  types  of  the  characters  are 
Spanish,  and  of  the  better  class.  The  action  of  the  figures  is  spirited  and  the 
story  is  gayly  told,  with  that  pervading  touch  of  natural  humor,  and  that  good- 
humored  vitality,  which  the  artist  is  noted  for  analyzing  and  presenting  so 
skillfully. 


22 


\ 


\ 


DE  NITTIS  (Joseph),  .  Deceased 


Born  at  B arietta,  Italy ,  1846.  Died  at  St.  Germain,  1884.  Studied 
under  Gerome  and  Meissonier.  Medals,  Paris,  1876,  1878 ;  Legion 
of  Honor,  1878. 


No.  13 

CONFIDENCES. 

13  X  9$. 


It  is  a  place  for  confidences,  where  the  verdure  whispers  secrets  to 
the  caressing  zephyr,  and  the  stream  babbles  them  to  the  rustling  sedges. 
Upon  this  shaded  bank,  under  the  sky  of  radiant  midsummer,  one  might 
well  lie  at  ease  and  murmur  of  forbidden  things,  and  tales  that  could  be 
told  to  the  safe  ear  of  friendship  alone.  In  this  idyllic  confessional,  one 
of  the  artist’s  heroines,  splendid  as  a  huge  butterfly  in  her  robe  of  blue 
and  vermilion,  rich  with  sumptuous  broideries,  extends  herself  in  the  luxu¬ 
rious  lassitude  of  unconstrained  repose  upon  the  perfumed  greensward, 
fanning  herself  lazily  as  she  babbles  her  confidence  to  her  companion,  who 
listens  idly,  propped  upon  her  elbow,  by  her  side.  To  the  artist,  “Con¬ 
fidences  ”  has  been  the  excuse  for  one  of  those  daring  and  brilliant  experi¬ 
ments  in  color  by  which  he  won,  during  his  phenomenally  successful  career, 
such  extended  fame  and  favor.  It  is  a  triumph  built  upon  the  simplest 
foundations,  that  of  the  primary  tints.  The  key-note  is  struck  in  the 
vivid  red,  yellow,  and  blue  of  the  women’s  robes,  upon  which  combination 
all  the  rest  of  the  picture  is  a  variation. 

The  picture  bears  the  date  1863. 


23 


GRISON  (Adolphe), 


Paris 


Born  at  Bordeaux.  Pupil  of  Lequieu. 


No.  14 

THE  WINE  TESTERS. 


(LES  DEGUSTATEURS.) 
io  x  8. 


The  church  and  the  military  have  in  all  times  been  excellent  friends. 
In  a  snug  corner  of  a  monastery  cellar,  two  examples  of  the  comradeship 
of  the  rosary  and  the  sword,  a  monk  and  a  man-at-arms,  are  making  sympa¬ 
thetic  and  leisurely  investigations  into  the  quality  of  the  vintages  that  fill 
the  convent  casks.  The  wine  tasters  are  characteristic  and  well-contrasted 
types.  The  soldier  wears  a  somewhat  critical  expression,  as  is  the  privilege 
of  a  man  of  the  world  who  holds  his  own  opinion  in  respect,  while  the 
cellarer’s  face  reflects  the  contentment  of  one  who  knows,  and  is  therefore 
comfortably  secure  in  the  unimpeachable  excellence  of  his  wares.  How¬ 
ever  their  opinions  may  differ  on  the  subject  of  the  exact  flavor  of  the 
wine,  we  may  be  assured  that  they  will  not  quarrel  over  it.  The  quality 
of  the  fluid  that  brims  the  social  glass  is  evidently  too  excellent  to  promote 
dissension  or  permit  it. 


The  picture  is  dated  1 88 1  - 


r  •  -  ^--.V 


t 


ALVAREZ  (Luis), 


Rome 


Z'  £ 


0~G 


Born  in  Spain.  Genre  painter.  Pupil  of  Madrazo  the  elder. 


No.  15 

HIDE  AND  SEEK. 


(CACHE-CACHE.) 
14  x  22. 


Then  in  and  out  and  round  about 
We  turn  and  twist  and  glide, 

And  ever  in  the  merry  rout 
We  find  a  loved  one’s  side. 

Lord  Byron. 


The  game  of  hide  and  seek  possesses  a  double  utility.  It  is  not  only 
an  excellent  time  killer,  but  an  admirable  means  of  protracting  a  light 
flirtation  through  the  broken  course  of  the  game.  The  latter  inducement 
is  quite  likely  to  have  some  weight  with  M.  Alvarez’s  frolicsome  players. 
They  are  certainly  rather  of  the  flirtatious  than  the  purely  playful  age. 
They  make,  at  any  rate,  an  animated  and  colorful  tableau,  in  the  contem¬ 
plation  of  which  their  sport  may  be  shared  without  the  fatigue  of  physical 
exertion  its  actual  performance  involves. 

25 


VILLEGAS  (Jose), 


Rome 


Born  in  Seville.  Pupil  of  Fortuny.  Medals  at  Seville ,  Rome ,  Naples , 
and  Turin. 


No.  16 

BULL-FIGHTERS  AWAITING  THEIR  TURN. 

(AVANT  LA  COURSE  DE  TAUREAUX.) 

H  x  61 


In  the  coulisse  of  the  bull-ring  a  bull-fighter  in  blue,  with  a  gorgeous 
gold-embroidered  cape  and  his  crimson  cloak  draped  over  his  arm,  smokes 
his  cigarillo  and  watches  the  progress  of  the  events  in  the  arena,  in  which 
he  is  to  take  a  decisive  part.  At  his  feet  is  a  banderilla.  A  plank  fence, 
with  a  rude  bench,  separates  him  from  the  vaulted  space  under  the  audi¬ 
torium  of  the  amphitheatre.  Leaning  on  the  fence  from  their  places  behind 
it  are  another  bull-fighter  and  two  spectators,  who,  by  their  familiar  atti¬ 
tudes  and  expressions,  are  evidently  friends  of  the  actors  who  have  the 
proud  license  of  an  entry  behind  the  scenes.  The  various  Spanish  types 
are  closely  studied,  and  the  fixed  attention  and  suppressed  excitement  of 
the  watchers  mirror  to  the  imagination  the  unseen  drama  which  is  being 
enacted  before  them.  Overhead  the  feet  of  the  spectators  are  thundering 
on  the  planks  of  the  amphitheatre.  Behind  them  the  bellowing  of  fresh 
victims  for  the  people’s  holiday  echoes  through  the  gloomy  vaults  of  the 
cellarium.  Through  the  dust  and  heat  of  the  arena  the  movement  and  the 
reek  of  battle  come  in  fitful  gusts.  It  is  the  moment  of  watchful  repose 
that  precedes  the  storm.  In  the  twinkling  of  another  eye,  one  may  expect 
the  picture  to  be  empty,  and  the  blue-jacket,  mayhap,  empurpled  with 
gore. 

The  date  is  1871. 

26 


—  -  -  . 


♦ 


1 

} 

« 

1 


ROSSI  (Lucius) . Paris 

Born  at  Rome.  Pupil  of  the  Academy  of  Rome.  Medals  at  Rome ,  Turin, 
and  Naples. 

No.  17 

MIDNIGHT  AMUSEMENT  IN  THE  OLDEN  TIME 

—VENICE. 


(GUET-APENS  A  VENISE.) 
14^  x  1 i£. 


There’s  a  step  on  the  Bridge  of  Sighs, 
The  step  of  a  cavalier; 

Some  maiden  trysts,  and  swift  he  hies 
To  kiss  and  fondle  a  lovely  prize. 

As  he  speeds,  the  moon  shines  clear. 


There’s  a  sound  on  the  Bridge  of  Sighs, 

The  sound  of  a  struggle  loud  : 

A  dagger  gleams,  a  shadow  flies, 

An  inert  form  on  the  pavement  lies. 

The  moon  goes  behind  a  cloud. 

Francis  S.  Saltus. 

The  moon  is  out,  in  Mediaeval  Venice,  flooding  the  open  tide  with  her 
white  splendor  and  burying  the  obscure  passages  of  the  little  canals  in  a 
gloom  meet  for  tragedies.  Among  the  shadows,  what  lurking  shapes  may 
crouch,  clutching  the  ready  steel,  the  moment  of  action  only  can  reveal. 
There  is  a  rasping  on  the  balcony  overhead,  the  clatter  of  the  rope-ladder, 
lowered  to  carry  a  secret  wooer  from  the  trysting  place,  a  figure  on  the  cord, 
and  then,  in  a  moment,  swift  clashing  of  steel,  fierce  oaths,  and  the  tumult 
of  a  death  struggle,  punctuated  with  a  woman’s  shrieks  and  cries  of  agony. 
And  still  Venice  dozes  or  frolics  on  upon  its  ways  of  pleasure  and  of  intrigue, 
unconcerned.  To  her  such  midnight  brawls  are  all  too  common  to  send  a 
thrill  to  her  blood  or  an  extra  pulsation  to  her  heart. 

The  date  of  the  picture  is  1870. 

27 


Rome 


AGRASSOT  (Joaquin), 


Born  at  Orihuela,  Spain.  Genre  Painter.  Pupil  of  the  Academy  San  Carlos 
of  Valencia ,  and  of  Martinez. 


No.  18 


FORTUNY’S  STUDIO. 

(L’ ATELIER  DE  FORTUNY.) 

16  x  ii. 


It  is  a  corner  of  the  famous  Roman  atelier  in  which  the  great  Spanish 
painter  heaped  up  the  artistic  prizes  of  his  mania  for  curiosity  collecting. 
There  is  a  trophy  of  arms  and  bric-a-brac  on  an  antique  stand,  a  gorgeous  rug, 
on  which  some  sketches  are  scattered,  porcelains  and  metal  work,  carvings  in 
wood  and  stone  and  ivory  ;  part  of  the  gathering,  in  short,  which  has  given 
the  studio  of  Fortuny  an  immortal  place  in  the  reminiscences  of  art,  and  which 
two  ladies  are  examining  with  properly  curious  interest.  This  souvenir  of  his 
great  colleague’s  atelier  was  painted  in  1871,  when  the  talented  young  painter 
formed  one  of  the  noteworthy  Spanish  colony  engaged  in  the  practice  of 
art  in  Rome. 

Mr.  Stephen  J.  Ferris,  who  was  himself  a  pupil  of  Fortuny,  writes  of 
this  interesting  work  :  “  I  am  told  by  one  who  saw  it  in  Fortuny’s  studio 
that  Fortuny  worked  on  it  until  it  was  recognized  as  his  work.  It  caused 
quite  a  controversy  in  Rome  until  Fortuny  explained.  He  was  so  obliging 
to  young  artists  as  to  sometimes  paint  for  hours  on  their  pictures,  which 
was,  probably,  the  case  in  this  instance.” 

Agrassot  was  a  close  friend  of  Fortuny,  and  his  portrait  appears  in  the 
great  Spaniard’s  picture,  “  Le  Faust  de  Gounod,”  in  which  the  composer  is 
represented  playing  on  the  piano  his  great  score,  with  phantasms  of  Faust 

and  Marguerite ,  and  of  Mcphistopheles  and  Martha  in  the  air. 

2S 


! 

■* 

i 


PORTAELS  (Jean  Francois),  .  .  .  Brussels 

Born  in  Vilvord,  near  Brussels ,  1 8 1 8.  Pupil  of  Navez,  and  in  Paris  of  Dela- 
roche.  Won  the  Prix  de  Rome ,  1841.  Travelled  through  Europe  and  the 
East.  Since  1878,  Director  Brussels  Academy.  Order  of  Leopold,  1851. 
Medal,  Paris,  1855. 


No.  19 

BOHEMIAN  CABIN. 

(INTERIEUR  BOHEMIEN.) 

10  x  14. 


It  is  the  fireside  of  a  vagabond  race  but  one  remove  from  the  nomads  of 
the  Steppes.  To  such  as  these,  home  is  a  name  unknown.  Their  substitute 
for  it  is  a  simple  shelter  from  the  elements,  where  man  and  beast  may  huddle 
together,  and  the  scanty  pot  be  kept  warm  over  the  scanty  fire.  The  gypsy 
traits  of  the  race  leave  no  room  in  it  for  the  enervating  comforts  of  civiliza¬ 
tion  or  the  immaterial  pleasures  of  a  high  state  of  existence.  Their  wants  are 
those  of  nature  alone.  A  rude  meal,  a  sleep  upon  the  floor  of  beaten  earth,  a 
handful  of  fire-brands  for  warmth’s  sake  when  the  wind  is  chill — this  is  the 
beginning  and  the  end  of  the  Bohemian’s  mundane  desires,  and  the  supreme 
ambition  of  his  picturesque  and  purposeless  existence  of  vagrant  worthless¬ 
ness  and  reckless  inutility. 

29 


''  /o*s-  CERVI  <c-)’ 


Rome 


Pupil  of  Louis  Alvarez. 


THE  DISPUTED  PICTURE. 


No.  20 


(EN  QUfSTE  DU  NOM  DE  L’ARTISTE.) 


20  X  17. 


It  is  manifestly  a  very  serious  matter  to  decide  whether  this  master-piece 
is,  in  effect,  a  real  master-piece,  or  but  a  base  deception  unworthy  of  consider¬ 
ation  or  tolerance  as  part  of  a  collection.  There  has  been  a  dispute  upon  this 
point  between  these  two  veteran  experts,  by  which  the  younger  man  has  evi¬ 
dently  been  more  diverted  than  edified.  Now  that  the  debate  has  reached  a 
deadlock,  one  contestant  seeks  authorities  in  his  books  of  reference,  while  the 
other  studies  the  bone  of  contention  lovingly  set  up  on  a  carved  chest  before 
him,  and  still  expatiates  upon  its  undoubted  genuineness.  It  is  a  Descent 
from  the  Cross — well,  how  many  such  have  been  painted  !  But  the  frame  is  an 
antique !  That  may  be,  but — and  the  fluttering  of  leaves  goes  on,  conflicting 
authorities  are  read  and  re-read,  and  the  difference  of  opinion  remains  as  far 
from  adjustment  as  ever.  It  is  in  such  comedies  as  this  that  your  true  collect¬ 
or’s  life  runs  its  course,  disturbed  by  its  tempests  in  a  tea-pot,  now  and  then, 
only  to  settle  into  triumphant  calm  upon  the  acquisition  of  some  prize  whose 
quality  is  quite  beyond  dispute. 

The  picture  is  dated  1871. 


Deceased 


VERNET  (Emile  Jean  Horace), 


Born  in  the  Louvre ,  Paris ,  June  30,  1789.  Died  in  Paris,  Jan.  17,  1863. 
Son  of  Carle  Vernet  and  grandson  of  Joseph  Vernet.  Pupil  of  his 
father  and  of  Vincent ,  and  commenced  an  independent  career  as  a  painter 
in  1809.  First-class  medal,  1812.  Chevalier  of  the  Legion  of  Honor, 
1814.  Officer,  1825,  and  Commander  of  the  Order  in  1842.  Member  of 
the  Lnstitute,  1826.  Director  of  the  French  Academy  at  Rome,  1828. 
French  Representative  at  the  Roman  Court ,  1830.  Grand  Medal  of 
Honor,  1855. 

No.  21 


SOCIALISM  AND  CHOLERA. 


18  x  14^. 


When  the  revolution  of  1848  found  Horace  Vernet  in  the  fullness  of  his 
popularity  and  his  fame  as  the  great  battle  painter  of  France,  the  pride  of  the 
army  and  the  pet  of  the  king,  it  dealt  him  a  serious  blow,  and  one  from  which 
his  spirit  never  fully  recovered.  He  still  continued  at  his  labors,  but  the  sun 
of  his  destiny  had  entered  upon  its  decline,  and  a  newer  state  of  things  paved 
the  way  for  newer  men.  The  revolution  resulted  in  the  abdication  of  Louis 
Philippe  in  February,  1848,  and  the  proclamation  of  a  Republic.  Four 
months  later  came  the  Red  Republican  insurrection,  which  the  provisional  gov¬ 
ernment  put  down  only  at  the  cost  of  much  bloodshed.  Then  came  the 
Asiatic  Cholera  and  Louis  Napoleon  to  put  an  end  to  the  Republic  in  its  turn. 
Vernet  lived  to  paint  some  of  the  glories  of  the  successor  of  his  royal  patron, 
and  he  painted  all  his  detestation  and  scorn  of  the  socialistic  creed  which 
helped  to  depose  Louis  Philippe  and  to  place  Napoleon  III.  on  the  throne,  in 
his  picture  of  “  Socialism  and  Cholera.” 

It  is  a  scene  of  horror,  under  a  sky  of  dread.  Upon  the  guillotine  a  vic¬ 
tim  is  bound  to  the  fatal  plank.  Perched  upon  him  as  on  a  throne,  Death 
and  the  Plague  hold  rule  over  a  great  field  of  carnage.  Corpses  are  everywhere 
in  heaps  and  winrows,  losing  themselves  in  the  horror-haunted  gloom.  The 
guillotine  itself  is  built  upon  them.  They  are  the  fruits  of  socialism  ;  they 
typify  socialism  itself,  which,  as  the  artist  holds,  can  only  end  in  destruction, 
carnage,  annihilation,  and  a  restoration  of  the  old  and  natural  social  order. 


31 


SOCIALISM  AND  CHOLERA. 


But  greater  than  socialism,  which  can  only  destroy  itself,  is  the  pestilence 
which  can  destroy  the  destroyer — the  pestilence  which  has  come  with  its  twin 
brother  out  of  the  Orient,  and  laid  its  poisoned  clutch  upon  the  West.  Vernet 
paints  the  Cholera  as  a  gaunt  and  cadaverous  simulacrum  of  humanity,  out  of 
whose  face,  leaden  with  the  livid  pallor  of  infectious  death,  burn  two  eyes  like, 
lights  deep  set  in  caves.  This  creature  is  clad  in  yellow  satin  of  oriental  web 
and  cut.  It  plays  a  paean  of  destruction  upon  a  flute  formed  of  a  human 
thigh-bone,  and  a  terrific  scourge  hangs  at  its  girdle.  And,  as  it  pipes  its 
notes  of  menace  and  of  triumph  forth,  its  comrade,  Death,  squats  on  the  mon¬ 
ument  to  death  beside  it,  and  reads  a  journal  of  the  day  in  which  the  ravages 
of  revolution  and  the  ravages  of  the  plague  are  recorded  side  by  side. 

The  sentiment  of  this  terrific  allegory  is  expressed  with  a  magnificent 
strength  of  execution,  a  caustic  fearlessness  of  satire,  and  a  fervid,  however 
grim,  poetic  feeling.  The  date  is  1850. 

It  was,  therefore,  a  creation  as  well  as  an  inspiration  of  the  time  to  which 
it  applied. 


32 


RICO  (Martin), 


Paris  and  Venice 


Born  at  Madrid.  Pupil  of  Madrazo  the  elder ;  later  studied  in  Paris 
and  Rome.  Medals ,  Paris  ( Exposition  Universelle),  1878.  Chevalier 
of  the  Legion  of  Honor,  1878.  Order  of  Charles  III.  of  Spain. 


r 
ftv 


No.  22 

THE  SEINE  NEAR  POISSY, 

(LA  SEINE  PRES  DE  POISSY.) 

15  X  26|. 


“  Fair  is  the  Seine  at  Poissy, 

With  its  islets  crowned  by  trees, 

Fringed  by  spires  of  lofty  poplars 
Trembling  in  the  summer  breeze.’’ 

Bessie  Rayner  Parkes. 


Poissy,  the  birth-place  of  that  pious  king  who  won  the  surname  of  Saint 
Louis  when  he  left  his  body  on  the  African  sands  a  prey  to  the  pestilence 
that  put  an  end  to  the  crusade  he  headed  six  centuries  ago,  is  to-day  a  place 
of  memories  and  of  pictures  only.  For  the  latter,  it  is  much  sought  out  by 
the  artists  who  make  their  camp  in  the  forest  of  Fontainebleau.  A  portion  of 
the  river  bank  at  Poissy  is  given  over  to  the  washerwomen,  whose  wash¬ 
houses  line  the  shore,  and  whose  washing-floats  dot  the  water,  and  what  with 
the  natural  beauties  of  the  scene  and  the  quaint  variations  afforded  by  its 
artificial  adjuncts,  it  offers  to  the  seeker  after  the  picturesque  a  series  of  sub¬ 
jects  admirably  calculated  to  command  his  attention,  to  awaken  his  admira¬ 
tion,  and  arouse  his  industry  with  pencil  or  pen. 

3 


33 


HERMANN-LIiON  (Charles),  .  .  .  Paris 

Born  at  Havre ,  1838.  Genre  painter.  Pupil  of  Philippe  Rousseau  and 
of  Fromentin.  Medals ,  1873 ,  1879. 

No.  23 

COUNTRY  AND  CITY  RATS— LAFONTAINE’S 

FABLE. 

(“  LE  RAT  DE  VILLE  ET  LE  RAT  DES  CHAMPS.”) 

25  x  19$. 

Among  the  immortal  fables  of  the  ingenious  master  Jean  de  Lafontaine, 
that  of  the  country  and  the  city  rats  is  one  of  the  best  told.  It  is  a  sly 
and  shrewd  satire  upon  worldly  ambition  and  its  perils,  and  upon  the 
intangibility  of  worldly  glory.  The  city  rat  boasts  to  his  simple  country 
cousin  of  the  luxury  and  splendor  of  the  life  he  leads,  and  the  country 
rat,  becoming  envious,  undertakes  to  forsake  his  safe  and  humbly  comfortable 
rural  retreat  to  share  in  the  magnificence  that  he  describes.  But  the  city 
rat,  in  dilating  upon  the  advantages  of  a  metropolitan  existence,  has  failed 
to  apprise  his  unsophisticated  friend  of  its  drawbacks,  of  the  ferocious  cat 
with  its  deadly  jaws,  of  traps  set  to  mangle  and  maim,  and  the  perils  of 
a  servant’s  cudgel  or  a  chambermaid’s  broom.  When  the  country  rat  comes 
to  put  the  matter  to  a  test,  under  the  guidance  of  his  experienced  friend, 
he  discovers  these  things  for  himself,  and  wisely  abandons  pomp  and  luxury 
to  be  gained  at  such  price  for  the  simpler  and  safer  pleasure  of  the  life  his 

worldly  congener  scorns. 

34 


PASINI  (Alberto), 


Paris 


Born  at  Busseto ,  Italy.  Pupil  of  Ciceri.  Medals ,  Paris ,  1859,  1863,  1864. 
Grand  Medal  of  Honor  (. Exposition  Universelle),  1878.  Chevalier 
of  the  Legion  of  Honor,  1868.  Officer  of  the  Same,  1878.  Medal  at 
Vienna  Exposition,  1873.  Knight  of  the  Order  of  Saints  Maurice  and 
Lazarus.  Officer  of  the  Orders  of  Turkey  atid  Persia.  Honorary  Pro¬ 
fessor  of  the  Academies  of  Parma  and  Turin. 

No.  24 

THE  SULTAN’S  ESCORT. 

(L’ESCORTE  DU  SULTAN.) 

22  x  i8£. 

“  But  yester-eve,  so  motionless  around, 

So  mute  was  this  vast  plain,  that  not  a  sound 
But  the  far  torrent,  or  the  locust  bird 
Hunting  among  the  thickets  could  be  heard  : — 

Yet,  hark  !  what  discords  now,  of  every  kind, 

Shouts,  laughs  and  screams  are  revelling  in  the  wind. 

The  neigh  of  cavalry,  the  tinkling  throngs 
Of  laden  camels,  and  their  drivers’  songs — 

Ringing  of  arms,  and  flapping  in  the  breeze 
Of  streamers  from  ten  thousand  canopies  ; — 

War  music,  bursting  out  from  time  to  time, 

With  gong  and  tymbalons’  tremendous  chime.” 

Thomas  Moore. 

The  cavalcade  comes  winding  down  through  a  pass  in  the  hills  whose 
bare  and  sun-scorched  summits  cut  the  hot  sky  in  jagged  undulations.  The 
spearsmen  ride  in  front,  keeping  a  wary  lookout  against  possible  surprise. 
Their  leader  grasps  his  pistol  in  readiness  for  any  sudden  emergency,  and  his 
guardsmen  are  on  the  alert.  With  the  way  thus  made  secure,  the  body  of  the 
escort  follows,  surrounding  and  defending  the  rear  of  the  splendid  palanquin 
in  which  the  pampered  potentate  lolls  at  his  ease.  All  nature  blazes  with 
sunshine  and  heat,  and  the  rich  verdure  of  the  palm  grove,  set  like  a  jewel  in 
the  harsh  wilderness,  vies  with  the  sumptuousness  of  the  gayly  caparisoned 
procession  and  the  gorgeous  conveyance  it  protects  in  enhancing  the  oriental 
splendor  of  the  scene. 


35 


S /£cT O-  LOTH  (F.  E.) . Rome 


Born  in  Denmark.  Pupil  of  the  Royal  Academy  of  Fine  Arts.  Removed  to 
Rome ,  ivhere  he  spent  several  years,  after  which  he  was  called  back  to 
Denmark  and  appointed  Professor  of  the  Royal  Academy. 


No.  25 


ARTISTS’  AMUSEMENTS  DURING  CARNIVAL, 

ROME. 


(SOUPER  D’ARTISTES  PENDANT  LE  CARNAVAL.) 


22\  X  31. 


“  Who  can  forget  thy  Carnival,  Rome,  thy  Carnival  flashing 
Joy  and  life  through  thy  solemn  streets  ?  Ah,  season  when  Pleasure 
Day  after  day  its  kaleidoscope  turned  of  bright  robes  and  bright  faces  ; 

Every  one  free  as  the  wind,  by  fashion’s  conventions  untrammelled. 

All  borne  away  by  the  moment,  and  chasing  the  butterfly  Pleasure 
Till  the  stars  faded  and  set  in  the  cold  gray  light  of  the  morning.” 

Christopher  Pearse  Cranch. 

Even  the  Romans  themselves  do  no  madder  honor  to  the  annual  carnival 
season  than  the  strangers  who  form  the  famous  Art  Colony  in  the  Eternal  City. 
The  artists’  carnival  has  been  made  immortal  in  song  and  story.  Those  who 
participate  in  it  always  continue  to  invest  it  with  an  individual  picturesque¬ 
ness  of  costume  and  characterization,  and  they  surrender  themselves  to  its 
license  with  all  the  wild  enthusiasm  of  the  artistic  nature.  Mr.  Cranch,  him¬ 
self  an  artist  as  well  as  a  poet,  indicates  with  a  deft  touch  the  amazing  revel 
of  joyous  animal  spirits  which  his  student  days  made  him  familiar  with,  and 
which  lends  to  the  Roman  festival  one  of  its  most  interesting  and  distinctly 
characteristic  features. 

It  is  evening  of  Carnival  Day.  In  one  of  the  studios  the  effervescent 

gathering  of  genius  has  assembled  to  do  honor  to  a  feast.  The  wreck  of  a 

banquet  strews  the  table.  Bottles  whose  mellow  contents  have  aided  the 

light  course  of  pleasure  on  its  tripping  path  litter  the  floor.  It  is  a  strange 
36 


ARTISTS’  AMUSEMENTS  DURING  CARNIVAL,  ROME. 


medley  of  costumes  and  of  types.  An  Indian  fiddles  lustily  ;  a  herald  blows 
discordant  notes  from  a  horn  into  the  ears  of  a  sailor ;  cavaliers  and  damsels  in 
the  garb  of  contrasting  epochs  vossip  and  flirt  and  cast  the  notes  of  broken 
song  into  the  general  uproar.  All  is  life,  gayety,  the  confusion  of  untram¬ 
melled  and  unbridled  good-humor,  born  of  the  maxim  that  is  as  old  as  pagan¬ 
ism  and  as  eternal  as  Christianity  and  civilization — “  dum  vivimus  vivamus  ” — 
while  we  live  let  us  live,  for  to-morrow  may  hear  our  requiem  sung. 

The  date  of  the  picture  is  1872. 

37 


/ '  ffo- 


SAINTIN  (Jules  Emile),  ....  Paris 

Born  in  Lemc,  France,  1829.  Genre  painter.  Pupil  of  Drolling ,  Picot , 
and  Leboucher.  Lived  for  several  years  in  the  United  States.  Medals, 
Paris ,  1866,  1870  •  Munich,  1883.  Chevalier  of  the  Legion  of  Honor, 
1877- 

No.  26 

THE  TWO  ORACLES. 

(LES  DEUX  AUGURES.) 

29  x  19. 

There  can  be  no  question  as  to  which  of  the  oracles  that  this  buxom 
abigail  consults  will  be  obeyed. 

Between  the  advice  of  an  insensate  im-age  and  a  living  heart,  the 
latter  may  be  relied  upon  to  claim  the  victory.  Perhaps  the  comely 
soubrette,  who  has  halted  in  the  progress  of  her  daily  duty  to  address  the 
question  that  is  uppermost  in  her  mind  to  this  grotesque  example  of  the 
art  of  Cathay,  has  an  artful  purpose  behind  her  deference  to  it.  It  may, 
in  her  opinion,  be  quite  as  well  to  have  the  support  of  one  authority  for 
the  decisions  of  another,  and  if  the  wish  is  parent  to  the  thought,  and  one 
oracle  is  agreeable  enough  to  nod  an  affirmative  to  the  lightest  touch,  the 
verdict  of  the  other  can  readily  be  interpreted  to  suit  the  circumstances. 
The  artist  has  touched  his  satire  in  with  a  light  hand.  He  has  also  made 
a  pleasant  picture  of  modest  materials.  The  girl,  in  her  gray  house  uni¬ 
form  trimmed  with  black  and  her  chambermaid’s  cap,  nods  merrily  in 
concert  with  the  toy  she  interrogates.  The  accessories,  like  the  animate 
and  inanimate  actors  in  the  scene,  are  rendered  with  an  unostentatious, 
but  none  the  less  faithful  and  capable  hand. 

The  date  of  the  picture  is  1878. 

38 


BEAUMONT  (Charles  Edouard  de), 


Deceased 


Born  at  Lannion,  Fra?ice,  1821.  Genre  painter.  Pupil  of  Boisselier. 
Medals ,  1870  and  1873.  Chevalier  of  the  Legion  of  Honor,  1877 . 


No.  27 


THE  TEMPTATION  OF  SAINT  ANTHONY. 


(LA  TENTATION  DE  SAINT  ANTOINE.) 


2 3i  x  37- 


Possessing  the  value  of  a  religious  allegory,  and  presenting  as  well 
unlimited  possibilities  for  the  exercise  of  a  fantastic  imagination,  it  is  no 
wonder  that  the  story  of  St.  Anthony’s  ordeal  of  faith  has  been  a  favorite 
subject  with  painters  since  painting  began  to  be  a  part  of  the  progress  of 
civilization.  The  story  has  been  depicted  in  every  possible  phase,  from 
the  wonderful  diabolism  of  Callot’s  great  etching  down  to  the  gross  pruri¬ 
encies  of  the  modern  realists,  seeking  an  excuse  for  a  coarse  sensation 
in  an  appeal  to  the  vicious  with  a  perversion  of  a  pure  theme.  To  M.  de 
Beaumont,  an  artist  with  a  singularly  acute  invention  and  clear  mind,  the 
“Temptation”  has  provided  the  inspiration  for  one  of  his  most  striking 
works. 

The  tempted  saint  is  on  his  knees  at  the  rude  altar  of  his  penitential 
cavern,  his  head  buried  in  his  arms  and  his  hands  clutched  in  prayer. 
Carnal  temptation  besets  him  in  the  shape  of  a  radiantly  beautiful  woman, 
whose  nude  form,  radiating  a  brilliant  and  unearthly  illumination,  hovers 
over  the  altar  she  seeks  to  stain.  He  is  surrounded  by  gibbering  and 
tormenting  demons,  in  fantastically  hideous  forms,  in  which  one  finds  the 
animal,  the  reptile  and  the  human  characteristics  grotesquely  combined. 

Through  the  opening  of  the  cavern,  whose  vaulted  roof  and  stony  walls 
lose  themselves  in  a  vague  somberness  peopled  with  malignant  shadows, 
a  few  rays  of  daylight  steal  in,  only  to  lose  themselves  amid  the  gloom. 
The  picture  is  lighted  from  the  gleaming  form  of  the  demoniacal  enchant¬ 
ress,  a  weird  and  supernatural  light  full  of  the  livid  glow  of  diabolic 
fires.  There  is  no  date. 


39 


GOUBIE  (Jean  Richard), 


Paris 


Born  in  Paris ,  1842.  Genre  and  animal  painter.  Pupil  of  Gero?ne. 
Medal ,  Paris,  1874. 


No.  28 


THE  HONORS  OF  THE  FOOT. 

(LES  HONNEURS  DU  PIED.) 

29  x  42^. 

“  A  southerly  wind  and  a  cloudy  sky 
Proclaim  it  a  hunting  morning.  ” 

Old  Song. 

The  spoils  of  victory  fall  to  the  conqueror.  The  decree,  moreover, 
is  just,  according  to  human  law.  In  the  huntsman’s  case,  his  reward  is 
the  quarry,  and  the  rules  of  the  chase  have  attached  to  it  several  curious 
and  interesting  practices.  One,  well  known  to  fox  hunters  and  those  who 
are  familiar  with  descriptions  of  the  sport,  is  the  honors  of  the  brush,  which 
are  extended  to  the  lady  who  rides  in  first  at  the  death.  This  custom  is 
duplicated  in  stag  hunting  by  the  honors  of  the  foot,  a  custom  which  is, 
moreover,  observed  in  all  countries  where  the  chase  is  pursued  as  a  sport. 

In  this  case,  the  scene  is  in  France.  The  hunt  has  ended  in  an  aban¬ 
doned  quarry,  late  in  the  afternoon.  The  dogs  have  been  whipped  off  and 
are  gathered  about  the  fallen  stag  on  the  left,  while  the  horns  of  the 
dclaireurs  behind  them  proclaim  the  victory.  The  sportsmen  who  have  been 
in  at  the  death  are  halted  from  the  extreme  right  to  the  centre  of  the  composi¬ 
tion,  motionless  in  their  saddles,  while  the  chief  piqueur  presents  to  a  lady 
the  trophy  that  falls  to  her  as  having  been  at  the  head  of  the  hunt  when  the 
death  stroke  was  given.  The  landscape  is  bare  and  lifeless.  The  sky  is  cold, 
with  clouds  heavy  with  chill  showers,  across  a  rift  in  which  the  late  sun 
sends  a  gleam  of  light  without  warmth  in  it. 

The  date  of  the  picture  is  1872. 

40 


-sr; 


BEARD  (William  H.),  N.  A.,  .  .  .  New  York  ^ 


Born  in  Buffalo,  1814.  Elected  National  Academician ,  1871. 


No.  29 


VIEW  IN  THE  WHITE  MOUNTAINS. 

35i  x  z8|. 


“  Coward, — of  heroic  size, 

In  whose  lazy  muscle  lies 
Strength  we  fear  and  yet  despise; 

Savage — whose  relentless  tusks 
Are  content  with  acorn  husks  ; 

Robber, — whose  exploits  ne’er  soared 
O’er  the  bee’s  or  squirrel’s  hoard. 

Here,  in  solitude  and  shade, 

Shambling,  shuffling  plantigrade, 

Be  thy  courses  undismayed. 

Eat  and  drink  and  have  thy  fill, 

Yet  remain  an  outlaw  still  !  ” 

Francis  Bret  Harte. 


Bruin,  foraging  for  his  morning-meal,  is  prowling  up  a  savage  glen,  pick¬ 
ing  his  clumsy  way  along  the  tumbling  course  of  a  mountain  brook.  The 
forest  exhibits  the  wild  traits  of  primeval  nature  in  all  their  unrestrained 
picturesqueness,  the  last  of  the  great  wilderness  that  remains  to  New  England. 
Nature’s  strength  and  decay  are  seen  side  by  side  in  vivid  contrast.  Towering 
stems  reach  to  the  arch  of  verdure  which  they  support,  and  fallen  trees 
entangle  with  the  thickets.  In  the  fastnesses  of  the  forest  reigns  a  mysterious 
gloom,  full  of  the  vague  movement  of  leaves  and  boughs.  Through  an  open¬ 
ing  in  the  forest  as  the  glen  rises  the  sunlight  forces  its  way  in  sparse  shafts. 
Amid  such  surroundings  Bruin  should  find  abundant  prey,  safe  from  the 
armed  intrusion  of  the  hunter,  whose  feet  have  probably  not  yet  profaned 
these  wilds,  into  which  the  intrepidity  of  the  artist  has  preceded  him. 

The  date  is  1863. 

41 


Deceased 


0  "  BERTRAND  (James), 

Born  at  Lyons ,  1825.  Pupil  of  PMn  and  of  Orsel.  Later  studied  in  Rome. 
Medals ,  Paris ,  1861,  1863,  1869.  Chevalier  of  the  Legion  of  Honor , 
1876.  Medal  1878  (. Exposition  Univer selle). 


No.  30 

SERENADE  IN  ROME. 

(SERENADE  A  ROME.) 

24  x  45. 


“  With  passion  replete, 

Yet  tender  and  sweet, 

Some  soft  serenade 
Swells  out  from  the  shade, 

While  o’er  the  lagoon 


A  silvery  voice. 

Will  some  maid  rejoice, 

Who  whispers,  ‘  My  love 
Climb  quickly  above,’ 
the  opal  moon.” 

Francis  S.  Saltus. 


shines 


The  Roman  night  has  fallen  close  and  dark  with  the  star-bespangled 

blackness  of  a  moonless  summer  time.  The  mystery  of  the  indefinite  hours 

is  upon  the  Roman  ruins  and  among  the  Roman  highways.  It  is  an  hour 

of  silence,  of  idleness  and  repose.  But  the  lover,  who  is  never  idle  in  the 

cause  he  loves,  picks  at  his  mandolin  under  his  sweetheart’s  window,  and,  we 

may  assume,  chants  her  praises  to  no  unwilling  ears,  for  her  lattice  is  up  and 

the  light  of  her  lamp  gleams  behind  the  jealously  bowed  blind,  and  the  steps 

that  lead  up  to  her  doorway  are  a  silent  invitation  to  feet  that  have  travelled 

them  before.  At  the  feet  of  the  ardent  wooer,  as  if  to  offer  to  his  subdued 
42 


SERENADE  IN  ROME. 


excitement  and  interest  the  contrast  of  stolidity  and  animal  content,  a  herds¬ 
man  of  the  campagna  is  stretched  in  the  road,  with  his  dog  on  the  watch 
beside  him.  Along  the  wall  of  some  palace  garden  that  closes  the  road  in, 
a  couple  of  guitarists  touch  their  instruments  in  gentle  accompaniment  to 
the  singer’s  voice,  while  several  idlers  listen,  absorbed  in  the  romance  of  the 
moment  and  held  spellbound  by  its  melody.  The  deserted  street  loses  itself 
in  shadows.  In  the  old  palace  garden  the  nightingale  is  hushed.  The  hour 
belongs  to  lovers  and  to  love,  and  the  field  is  all  their  own. 

The  picture  is  dated  1868,  in  which  year  the  artist  was  in  Rome  finding 

his  best  inspiration  amid  its  picturesque  present  and  its  romantic  past. 

43 


JACOMIN  (Alfred  Louis), 


AjAV 


Born  in  Paris ,  1843.  Medal,  1876. 


No.  31 


Paris 


FAUST  AND  MEPHISTOPHELES. 

39  x  32- 


“  Faust :  Reluctantly  must  1  at  length 

Speak  the  spell  of  greatest  strength. 

“  Mephistopkeles  [coming  forward]  :  Why  all  this  uproar  ? 

Is  there  anything 


In  my  poor  power  to  serve  you  ? 

Most  learned  master, 


Your  humble  servant.” 


Goethe. 


The  temptation  of  Faust ,  as  Jacomin  paints  it,  has  a  peculiar  interest  in 
being  a  close  delineation  of  the  scene  of  that  great  allegory  as  Gounod 
placed  it  on  the  stage  in  Paris,  in  operatic  form,  in  1869,  at  the  Grand  Opera 
House.  At  that  time  the  great  baritone  Faure  impersonated  the  demoniac 
spirit  of  the  opera  with  remarkable  spirit  and  success.  M.  Jacomin  has  made 
a  close  study  of  this  famous  singer  in  his  principal  figure.  Mephistopheles,  in 
the  conventional  costume  of  flame  color  and  black,  stands  in  argument  with 
the  gray  scholar  who  has  summoned  him  to  be  his  familiar.  Faust  is  seated 
attired  in  his  doctor’s  robes.  The  scene,  crowded  with  books  and  philosophi¬ 
cal  and  chemical  implements,  displays  the  picturesqueness  and  eccentricity  of 
a  philosopher’s  study.  The  Faust,  like  the  Mephistopheles,  is  a  portrait  of 
the  singer  who  impersonated  the  part,  and  the  scene,  while  closely  following 
the  setting  of  the  stage,  is  yet  without  any  suggestion  of  the  artificiality  of 
arrangement  that  characterizes  theatrical  tableaux. 

The  date  of  the  picture  is  1869. 

44 


Paris 


RICHTER  (Edouard), . 

Born  in  Paris.  Pupil  of  Hubert  and  Bonnat . 

No.  32 

THE  GALLERY  OF  THE  LOUVRE. 

(LA  GALERIE  DU  LOUVRE.) 

39  x  32 — 1862. 

The  Louvre,  a  palace  of  kings  converted  into  a  palace  of  art,  dates  its 
origin  back  into  the  remoter  past  of  French  history.  The  name  appears  in 
the  chronicles  for  the  first  time  in  1204,  when  Philip  Augustus  completely 
reconstructed  on  its  present  site  a  still  more  ancient  edifice  in  order  to  make 
of  it  a  royal  residence.  Francis  I.  was,  however,  the  founder  of  the  Louvre 
as  we  know  it.  Successive  monarchs  added  to  it,  until  under  Napoleon  III. 
the  ancient  Louvre  became  part  of  an  enormous  irregular  quadrangle  of 
palaces,  the  other  extremity  of  which  was  formed  by  the  Tuileries,  which  was 
commenced  by  Catherine  de  Medici  in  1564.  With  the  Seine  on  one  hand, 
the  splendid  Rue  de  Rivoli  on  the  other,  and  facing  over  its  gardens  upon  the 
Place  du  Louvre ,  the  palace  remains  to-day  one  of  the  most  beautifully  placed 
and  charmingly  surrounded  public  buildings  of  Paris.  The  Louvre  as  an  art 
museum  owes  its  origin  to  the  French  Revolution.  It  was  by  a  decree  of 
the  Convention  of  1793  that  the  collections  of  the  various  royal  palaces  of 
Paris  were  gathered  in  the  Louvre,  and  with  the  additions  that  have  since 
been  made  to  them,  they  constitute  the  greatest  art  collection  in  the  world. 
The  picture  shows  the  entrance  from  one  of  the  galleries  to  another,  with  the 
uniformed  guardian  at  the  door,  and  a  couple  of  female  visitors  inspecting  the 
pictures.  Outside  the  wide  and  lofty  windows  are  seen  the  trees  of  the 
palace  garden,  or  more  properly  speaking,  park. 

The  picture  is  dated  1869. 


45 


'  j  e~o  -  HEULLANT  (Felix  Armand),  .  .  .  Paris 


Born  in  Paris,  1834.  Genre  Painter.  Pupil  of  Picot,  of  Giraud,  and  of 
Cabanel. 


No.  33 

ARCADIA. 

(“  ARCADIE.”) 

21  x  36^. 


"  Beside  the  stream  and  in  the  alder  shade, 

Love  sat  with  us  one  dreamy  afternoon, 

When  nightingales  and  roses  made  up  June, 

And  saw  the  red  light  and  the  amber  fade 
Under  the  canopy  the  willows  made, 

And  watched  the  rising  of  the  hollow  moon, 

And  listened  to  the  waters’  gentle  tune, 

And  was  as  silent  as  she  was,  sweet  maid, 

Beside  the  stream.” 

Edmund  Gosse. 


In  Arcadia  it  is  always  summer,  and  summer  sings  the  cradle  song  of 
love.  It  is  the  ideal  period  of  the  year  as  Arcady  is  the  ideal  spot  of  all  the 
wide,  wide  world.  The  pellucid  river  mirrors  a  sky  of  opal  and  of  pearl. 
The  alders  on  its  marge  send  their  reflections  down  into  the  rippleless  flood 
without  a  shiver.  The  grasses  faint  with  the  scent  of  the  flowers,  and  the 
breeze  of  balm  lulls  to  dreams  of  more  than  mortal  beauty  that  enhance 
rather  than  disturb  repose.  There  is  nothing  real  about  “Arcadia,”  more’s 
the  pity,  but  its  poetic  and  its  pictured  semblance.  Since  we  cannot  grasp 
the  reality  we  may  wisely  accept  the  counterfeit,  and  be  content  that  it,  at 
least,  is  ours. 


46 


HEULLANT  (Felix  Armand),  . 


Paris 


No.  34 

ARCADIA. 

(“  ARCADIE.”) 

(companion  to  no.  33.) 

“  With  pipe  and  flute  the  rustic  Pan 
Of  old  made  music  sweet  for  man  ; 

And  wonder  hushed  the  warbling  bird, 

And  closer  drew  the  calm-eyed  herd, — 

The  rolling  river  slower  ran. 

“  Ah  !  would,  ah  !  would,  a  little  span, 

Some  air  of  Arcady  could  fan 

This  age  of  ours,  too  seldom  stirred 
With  pipe  and  flute.” 

Austin  Dobson. 


The  poets  and  the  painters  have  made  of  the  Arcadia  of  the  Peloponnesus 
an  earthly  Paradise  which  their  imagination  has  exhausted  itself  to  glorify. 
It  is  with  them  the  sublimation  of  all  mundane  nature,  the  perfection  of  pas¬ 
toral  days,  in  one  long  dream  of  poetic  idleness  and  idyllic  ease.  They  have 
endowed  it  with  an  atmosphere  of  its  own  where  storms  never  darken,  and 
blasts  never  chill ;  a  climate  of  its  own  where  rude  winds  never  blow,  and 
made  it,  in  short,  a  country  in  which  nature  to  be  seen  is  to  be  worshipped  in 
the  persons  of  her  tutelary  deities,  Pan  and  Diana.  It  is  typically  the  land 
of  peace,  innocence  and  patriarchal  manners,  and  whether  it  is  presented  to 
us  with  the  pen  of  the  poet  or  the  brush  of  the  artist,  can  never  lose  its 
gentle  and  soothing  charm. 


47 


BIERSTADT  (Albert),  N.  A., 


New  York 


Born  in  Diisseldorf,  1830.  Brought  to  America  at  an  early  age.  In 
1853  he  returned  to  Diisseldorf,  and  entered  the  Academy  there  ;  after¬ 
ward  he  studied  in  Rome,  Switzerland ',  and  Germany.  Elected  a  M em¬ 
ber  of  the  National  Academy,  i860,  and  later  was  decorated  Chevalier 
of  the  Legion  of  Honor,  France.  In  1867  he  was  sent  to  Europe  upon 
a  Government  comtnission,  to  make  studies  for  a  painting  of  the  “  Discovery 
of  the  North  River  oy  Hendrik  Hudson."  Several  of  his  paintings  are 
owned  by  the  United  States  Government. 

No.  35 

SUNSET  IN  THE  YOSEMITE. 

36  X  52. 


“  Environed  by  a  mountain  wall, 

So  fierce,  so  terrible,  and  tall, 

It  never  yet  had  been  defiled 
By  track  or  trail,  save  by  the  wild, 

Free  children  of  the  wildest  wood  ; 

Where  stars  and  tempests  have  a  home 
And  clouds  are  curled  in  mad  unrest, 

And  whirled  and  swirled  by  crag  and  crest." 

Joaquin  Miller. 

In  the  golden  and  crimson  splendor  of  the  departing  day  the  great  valley 
is  sinking  to  rest  under  a  coverlet  of  cloud.  The  incredible  magnificence  of 
the  western  sunset  bathes  the  towering  cliffs  and  the  stream  that  winds  its 
way  between  them  in  a  glory  of  color  that  only  the  most  daring  pencil  may 
essay  to  reproduce.  It  is  as  if  the  auriferous  treasures  of  the  earth  were 
fused  into  the  sky  in  one  superb  triumph  of  pigmentary  perfection.  The 
forest,  darkening  with  the  shades  of  evening  into  mysterious  and  solemn 
somberness,  catches  here  and  there  a  glint  of  the  last  rays  of  the  sinking 
luminary.  The  waterfalls,  tumbling  in  spray  from  the  dizzy  heights,  flash 
with  its  level  beams  like  cataracts  of  jewels,  and  it  turns  the  ripples  of  the 
river  into  ropes  of  gold,  that  will  presently  lose  themselves  in  the  vapors  of 
evening  that  have  drifted  in  from  the  distant  sea. 

The  picture  was  painted  in  1868. 

48 


SIMONETTI  (Attilio  Cavaliere), 


Naples 


Born  in  Rome.  Genre  painter.  Pupil  of  Fortuny.  Professor  in  Naples. 


No.  36 


THE  LISTENER, 

(LA  CURIEUSE.) 


PEN-DRAWING. 


12  X  8J. 


A  pen  sketch  for  a  picture  of  a  graceful  and  pretty  young  woman  who 
is  listening  at  a  door  in  a  rich  interior.  Drawn  freely  and  boldly,  but  with 
much  delicate  suggestiveness  and  spirit,  and  a  great  deal  of  expression. 

Is  dated  1871. 


/  /  J  *  SIMONETTI  (Attilio  Cavaliere), 


Naples 


/ 


Born  in  Rome.  Genre  Painter.  Pupil  of  Fortuny.  Professor  in  Naples. 

No.  37 

THE  LETTER. 

(“LA  LETTRE.”) 


PEN-DRAWING. 


12  X  8^. 

In  the  snug  corner  of  a  richly  stocked  library,  a  gentleman  in  the  costume 
of  the  latter  portion  of  the  last  century,  with  cocked  hat  and  embroidered 
coat,  is  perusing  a  letter.  He  has  a  cane  under  his  arm,  and  his  attitude  is 
one  of  interested  attention.  Behind  him  is  a  carved  table.  This  is  a  spirited 
and  careful  pen-drawing  of  one  of  the  artist’s  best-known  single-figure  pictures. 

Is  dated  1871. 

50 


ROSSI  (Lucius), . Paris 

Born  in  Rome.  Pupil  of  the  Academy  of  Roitie.  Medals  at  Rome,  Turin , 
and  Naples. 


No.  38 


v 


AN  ARAB  TAMBOURINIST. 


ni  x  7. 


A  pen-drawing,  closely  studied  from  nature,  of  an  Arab  squatting  against 
a  wall  beating  on  a  tambourine.  His  figure  suggests  a  rhythmic  movement  in 
time  to  his  playing,  and  his  eyes  are  directed  forward,  as  if  watching  the 
dancers  for  whom  he  beats  time. 

The  drawing  is  dated  1871,  and  is  a  fragmentary  study  for  a  well-known 
picture  by  the  artist. 


51 


t '!  O  ■  ROSSI  (Lucius), . Paris 

TfrUw/  No- 39 

FRENCH  CAVALIER— TIME  OF  HENRY  III. 

1 1-3-  x  6. 

A  pen-drawing  of  a  richly  costumed  cavalier  of  the  era  of  Henry  III. 
of  France.  The  figure  is  spirited  and  life-like,  standing  in  a  proud  attitude 
as  if  of  expectancy.  It  is  a  drawing  from  a  picture  by  the  artist,  and  is 
dated  1871. 


52 


. 


MEISSONIER  (Jean  Louis  Ernest),  .  .  Paris 

Born  at  Lyons.  Pupil  in  Paris  of  Leon  Cogniet.  Medals ,  Paris  1840,  1841, 
1843,  1848  ;  Grand  Medal  of  Honor ,  1855  ( Exposition  Universelle). 
Grand  Medal  of  Honor  ( Exposition  Universelle ),  1867.  Grand  Medal 
of  Honor  ( Exposition  Universelle ),  1878.  Chevalier  of  the  Legion  of 
Honor ,  1846.  Officer  of  the  Same,  1856.  Commander  of  the  Same, 
1867.  Grand  Officer  of  the  Same,  1878.  Member  of  the  Institute  of 
France,  1861.  Honorary  Member  Royal  Academy,  London.  The 
paintings  by  this  artist  have  commanded  higher  prices  than  those  of  any 
living  painter.  His  famous  picture  entitled  “  1807,”  in  the  Stewart 
Collection ,  was  sold  for  $66,000,  its  purchaser  afterward  presenting  it 
to  the  Metropolitan  Museum. 

No.  40 

ANCIENT  ARMOR. 

9i  x  6. 


i.  ft.  dUrt 


An  exquisitely  accurate  study  in  black  and  white  of  a  trophy  of  armor. 
The  minute  attention  given  by  the  artist  to  detail,  and  his  almost  photo¬ 
graphic  closeness  of  observation  and  fidelity  of  repetition  are  admirably 
illustrated  in  it.  Not  a  single  feature  of  the  original  is  neglected,  and  no 

minutest  point  of  the  effect  of  light  upon  the  metal  left  in  doubt. 

53 


t  BONHEUR  (Marie  Rosa) . Paris 

/ 


Born  at  Bordeaux ,  March  22,  1822.  Pupil  of  her  father ,  Raymond  B, 
Bonheur.  Began  by  copying  in  the  Louvre  j  afterward  made  studies  and 
sketches  near  Paris.  Her  first  two  pictures ,  exhibited  at  Bordeaux ,  1841, 
attracted  much  attention ,  and  were  followed  by  others  which  established  her 
world-wide  fame.  During  the  Franco-Prussian  IV ar,  her  studio  and 
residence  were  respected  by  special  order  of  the  Crown  Prince  of  Prussia. 
Since  1849  she  has  been  director  of  the  Paris  Free  School  of  Design  for 
Young  Girls ,  which  she  founded.  Elected  member  of  A  ntwerp  Institute 
in  1868.  Medals ,  1845,  1848,  1865,  1867  ( Exposition  Universelle). 
Cross  of  the  Legion  of  Honor ,  1865.  Cross  of  the  Order  of  Leopold , 
1880.  Commander' s  Cross  of  the  Royal  Order  of  Isabella  the  Catholic , 
1880.  Conceded  to  be  the  greatest  female  painter  the  world  has  pro¬ 
duced.  Her  celebrated  “ Horse  Fair,"  in  the  Stewart  Collection,  was  sold 
for  $53,000,  and  now  hangs  in  the  Metropolitan  Museum. 


No.  41 

READY  FOR  THE  MARKET. 

(CHEVAUX  A  VENDRE.) 

11  x  18. 


A  black  crayon  drawing  of  half  a  dozen  stout  Normandy  horses,  which 
have  been  gathered  in  from  the  fields  for  the  horse  market.  Their  tails 
are  clubbed,  and  they  have  the  sleek  semblance  of  beasts  well  fed  for  sale. 
On  one  of  them  is  a  saddle,  but  the  rider  who  has  charge  of  the  string 

is  evidently  bibbing  in  the  wine-shop  whose  palm-branch  shows  from  the 
54 


READY  FOR  THE  MARKET. 


angle  of  the  house  beyond  the  tree  to  which  his  charges  are  haltered. 
While  he  makes  friends  over  his  cups,  the  horses  make  acquaintances  out 
of  doors,  and  prick  their  ears  at  the  whinny  of  some  brother  of  their 
race  that  greets  them  from  his  stall.  The  drawing  is  full  of  spirit,  and 
the  character  of  the  animals  in  their  various  subtleties  of  individuality  is 
admirably  realized. 

It  is  dated  1869. 

55 


\ 


f  /ds-. 


DECAMPS  (Alexandre-Gabriel), 


Deceased 


Born  in  Paris ,  1803.  Pupil  of  Abel  de  Pujol.  Medals ,  Paris ,  1831-1834. 
Chevalier  of  the  Legion  of  Honor ,  1839.  Officer  of  the  Same,  1851. 
Died \  i860. 


No,  42 


HOUND. 

8^  x  9T 

A  study  from  life  of  a  sitting  hound,  one  of  a  species  of  dogs  the 
artist  was  especially  fond  of  studying,  in  consequence  of  his  personal 
love  of  the  chase,  which  resulted  in  his  breaking  his  neck  by  a  fall  from 
his  horse  while  hunting  in  the  Forest  of  Fontainebleau. 

The  drawing  is  executed  in  sepia. 

56 


■ 


I 


. 


■ 


.  * 


BERNE-BELLECOUR  (Etienne  Prosper), 


Paris  r  7  & 


Born  at  Boulogne-sur-Mer.  Pupil  of  Picot  and  of  F.  Barrias.  Medals , 
Paris ,  1869,  1872,  1878  {at  Salon  and  Exposition  Universelle).  Cheva¬ 
lier  of  the  Legion  of  Honor,  1878. 


No.  43 

THE  LOVE  TOKEN. 

(L’ARBRE  CONFITANT.) 

14^-  x  10. 

"  I  carved  her  name  upon  a  tree, 

Ah  me  ! 

My  Chloe’s  name  upon  a  tree 

I  carved  in  letters  fair  to  see  ; 

Now  Chloe  has  forsaken  me, 

Woe’s  me  !  ” 

Old  English  Ballad. 

To  the  friendly  confidence  of  the  forest,  youth  and  passion  confess  the 
secret  of  their  love.  How  many  similar  symbols  has  the  hand  of  adoration 
carved  upon  Nature’s  face!  And  how  often  has  the  fickle  god  laughed  at 
these  enduring  emblems  of  courtship  and  flirtations  that  have  ended  in 
naught,  but  left  these  notes  of  their  progress  to  mock  their  futility!  Perhaps 
this  lover’s  fate  may  be  happier  than  that  of  the  hero  of  the  old  ballad. 
His  present,  at  any  rate,  is  happy  enough. 

The  picture  is  executed  in  water  colors,  and  is  dated  1869. 

57 


X 

&AS 


VANNUTELLI  (Cavaliere  Scipione),  .  .  Rome 

Born  in  Rome.  Genre  painter.  Studied  in  Vienna  under  Wurzinger, 
afterward  in  Paris  under  Heilbuth.  Medal ,  Paris ,  1864. 

No.  44 


DAY  DREAMS  ON  THE  CAMPAGNA. 

(R.&VES  DE  JEUNESSE.) 

15  x  io£ — 1871. 


“  Beautiful  dreams,  that  haunt  the  younger  earth, 

In  poet’s  pencil  or  in  minstrel’s  song, 

Like  sighs  or  rainbows,  dying  in  their  birth. 

Perceived  a  moment,  and  remembered  long  !  ” 

Thomas  Kibble  Hervey. 


The  youthful  dreamer  is  stretched  on  his  back  upon  a  pleasant  plain. 
He  has  laid  his  book  by,  and  is  watching  the  swallows  skimming  their  airy 
flight  overhead  and  the  clouds  making  their  voyages  of  mystery  across  the 
zenith.  In  the  distance  Rome,  from  which,  no  doubt,  the  young  pursuer 
of  waking  phantoms  is  a  whole  world  away,  is  seen. 

The  picture  is  executed  in  water  colors,  and  is  dated  1871. 

58 


I 


-V 


MADRAZO  (Ricardo), . Paris  '*  cho 


Son  of  Federico  and  brother  of  Raimundo  de  Madrazo.  Has  acquired 
reputation  as  a  painter  in  water  colors. 


No.  45 


STREET  IN  GRANADA. 


18  x  n — 187  1. 


The  streets  of  Granada,  like  those  of  all  towns  of  Moorish  construction, 
are  very  narrow  and  winding.  The  private  buildings  are,  with  few  excep¬ 
tions,  of  the  simplest  architecture,  without  any  external  ornament.  In  the 
town  itself  there  is  scarcely  an  old  house  that  does  not  show  some  signs  of 
Moorish  construction.  Some  of  the  Moorish  buildings  are  still  completely" 
preserved.  Others  are  built  about  and  absorbed  by  the  newer  Iberian 
structures,  till  only  fragments  of  them  show  in  the  masonry,  that  has  literally 
swallowed  them  up.  The  houses  are  all  built  about  an  inner  court  or  patio, 
which  is  reached  through  a  door  opening  from  the  street,  and  a  little  dark 
ante-court  called  the  zaguan.  In  the  patio,  which  is  paved  with  stone,  a 
fountain  plays,  and  oleanders  bloom  in  tubs  and  huge  jars  of  clay  baked  as 
hard  as  stone.  Balconies  and  galleries  surround  the  patio,  and  the  doors 
of  the  living  and  other  rooms  open  upon  them.  Creeping  vines  clamber 
everywhere,  and  under  the  dead  silence  of  the  glowing  sky  the  tinkle  of 
falling  waters  and  the  hum  of  drowsy  insects  alone  disturb  the  perpetual 
quiet  of  the  decaying  town.  On  their  street  fronts  the  houses  exhibit 
only  black  doorways  and  white  walls,  that  blaze  in  the  sun,  broken  here 


59 


STREET  IN  GRANADA. 


and  there  by  grated  windows.  Many  of  the  winding  streets  end  abruptly 
at  some  house  door,  while  others,  twisting  in  and  out  along  the  irregularities 
of  the  hillsides,  end  at  the  very  street  where  they  began.  A  donkey  dozing 
in  the  shade,  a  donkey  driver  asleep  on  his  face  on  the  ground,  a  vegetable 
seller  drowsing  over  her  wares,  which  none  come  to  buy,  alone  give  life 
to  a  scene  in  which  the  memory  of  the  most  romantic  period  of  Spanish 
history  lingers,  ghostlike,  in  the  very  air. 

The  picture  is  executed  in  water  colors. 

60 


TEN  KATE  (Herman  Frederick),  .  The  Hague 

Born  at  The  Hague,  1822.  Genre  Painter.  Studied  in  Amsterdam  with 
Cornelius  Kruseman ;  later  in  Paris.  Member  of  the  Academy  of 
Rotterdam. 

No.  46 

DUTCH  GUARD-ROOM. 

iof  x  i6£. 

In  an  ancient  barrack-room,  a  company  of  troopers  are  listening  to  the 
story  of  some  recent  event  of  the  wars  which  a  comrade  is  recounting  with 
animation  and  evident  dramatic  effect.  The  costumes  are  of  that  period 
when  the  Netherlands  made  their  splendid  struggle  against  the  cruel  and 
tyrannical  authority  of  Spain,  and  the  interest  with  which  the  story  teller  is 
followed  would  suggest  that  he  is  dealing  with  some  episode  of  unusual 
importance  in  the  great  campaigns  for  national  deliverance.  The  group 
includes  all  varieties  of  characters,  from  the  young  soldier,  rich  in  ambitions 
and  enthusiasms,  to  the  veteran,  “  bearded  like  the  pard,”  for  whom  battles 
hold  neither  secrets  nor  terrors.  The  martial  quality  of  the  figures  is  char¬ 
acteristic  of  the  period.  A  noble  deep  fire-place  and  a  large  window  give 
variety  and  dignity  to  the  background,  and  the  Dutch  standard  is  furled  in  a 
corner,  ready  to  be  clutched  at  the  first  summons  to  battle  and  borne  to  the 
fray  by  willing  hands. 

The  picture  is  a  water  color,  to  which  medium  Mr.  Ten  Kate  is  chiefly 
devoted. 


61 


WISSEL  (O.) . 

Pupil  of  Fortuny. 

No.  47 

BUTTERFLY. 


(PAPILLON.) 

WATER  COLOR. 


23  x  15. 


Seville 


The  spirit  of  the  butterfly  hovers  amid  the  ruins  of  an  ancient  garden. 
It  is  typified  by  an  ethereal  female  form  perched  on  a  broken  tree  and  listen¬ 
ing  to  the  sad  murmur  of  a  ruined  fountain.  Nature,  healing  the  scars  of 
time  with  a  compassionate  hand,  has  lavished  her  wealth  of  bloom  and  blos¬ 
som  on  the  wasted  splendors  of  the  past.  A  tender  and  poetic  atmosphere 
envelopes  the  allegory  in  a  dreamy  haze. 

The  date  is  1870. 

62 


DE  NITTIS  (Joseph),  .  .  .  Deceased 

Born  at  B arietta,  Italy,  1846.  Died  at  St.  Germain,  1884.  Studied  under 
Gerome  and  Meissonier.  In  the  Salon  of  1872  he  gained  great  success  by 
his  “  Road  fro7n  Naples  to  Brindisi,"  and  his  “  La  Place  des  Pyr amides ,” 
exhibited ,  later  served  to  strengthen  his  reputation.  Medals,  Paris,  1876, 
1878.  Legion  of  Honor,  1878. 


No.  48 


CHINESE  SHOP. 

(BAZAR  CHINOIS.) 

14I  x  10+. 


The  fair  sex  indulges  in  the  exercise  of  one  of  its  pet  prerogatives  even 
in  far  Cathay.  Wherever  the  commercial  interests  of  man  have  set  the  shop 
up,  woman  finds  time  to  dally  among  its  enchanted  stores  of  frippery  and 
finery.  The  Chinese  shop  presents  marked  differences  to  that  of  the  newer 
nations  of  the  West.  Its  stock  is  of  an  unusual  character,  the  most  salient 
features  of  it  being  a  number  of  large  and  showy  paper  lanterns  suspended 
from  the  beams  overhead.  In  place  of  the  glitter  and  brightness  of  the 
European  magasin,  a  rich  gloom  prevails,  against  which  the  vivid  colors  of 
the  robes  of  the  two  shoppers,  who  are  reading  a  notice  pasted  on  a  screen, 
show  with  brilliant  relief. 

The  picture  is  executed  in  water  colors,  with  daring  freedom  and  force, 
and  is  dated  1870. 


63 


RICO  (Martin),  ....  Paris  and  Venice 

Born  at  Madrid.  Pupil  of  Madrazo  the  Elder ;  then  studied  in  Paris 
and  Rome.  Medal ,  Paris  ( Exposition  Universelle ),  1878;  Legion  of 
Honor,  1878  ;  Order  of  Charles  III.  of  Spain. 

No.  49 

BOATING  PARTY  IN  THE  BOIS  DE  BOULOGNE. 

(SUR  LE  LAC,  BOIS  DE  BOULOGNE.) 

(water  color.) 

14+  X  10^. 

“  ’Twas  an  afternoon  in  the  Bois,  and  the  sun  shone  golden  and  fair, 

And  the  poplars  scarcely  stirred  in  the  balmy  summer  air, 

As  we  drifted  under  the  willows,  amid  the  lilies  and  sedges, 

And  smiled  at  the  gossipy  ducks,  that  quacked  at  the  lake’s  green  edges.” 

Alfred  Trumble. 

The  upper  and  lower  lakes  in  the  Bois  de  Boulogne,  which  are  little 
more  than  ponds,  by  the  way,  are  a  little  treasury  of  pictures.  They  are 
divided  by  the  Carrefour  des  Cascades,  which  connects  the  drive  from  the 
Porte  de  Passy  with  the  Chemin  de  Ceinture,  and  of  the  two,  the  Lac 
Inferieur,  with  its  two  islets  connected  by  a  rustic  bridge,  and  its  charm¬ 
ing  rural  chalet,  is  by  far  the  more  picturesque.  It  is  on  this  delightful 

little  body  of  water  that  one  may  go  boating,  and  linger  under  bosky 

embankments,  or  fish  for  minnows  with  rod  and  line  to  an  audience  of 
wondering  ducks  and  swans.  It  is  a  peculiarity  of  the  scenery  of  the  Bois 
de  Boulogne  that  everything  about  it  is  in  proportion,  so  that  even  the 
restricted  area  of  nature  and  the  narrow  dimensions  of  the  lakes  look 
larger  than  they  are,  thanks  to  the  symmetrical  fitness  of  all  their  details. 
Under  a  brilliant  summer  sky,  flecked  with  white  cloudlets  over  its  placid 
blue,  one  may  idle  on  the  bank  or  in  a  boat  upon  the  lake,  as  far  away 

from  the  world  as  if  all  Paris  were  not  riding  by  behind  a  broken  girdle 

of  bushes.  Such  sylvan  idyls  as  M.  Rico  has  painted  in  his  charming  water 
color,  are  endlessly  repeated  in  the  variations  of  the  twin  lakes  in  the 
Bois. 


64 


I 


LELOIR  (Louis  Alexandre),  .  .  .  Deceased 

Born  at  Paris.  Pupil  of  his  father ,  J.  B.  A.  Leloir.  Medals,  Paris, 
1864,  1868,  1870,  1878  ( Exposition  Universelle)  j  Legion  of  Honor, 
1876. 


No.  50 

AFTER  THE  SUPPER,  ONE  MUST  PAY. 

(APRES  LE  SOUPER.) 

10  x  14J. 


It  is  an  old  saying,  and  an  eternally  true  one,  that  there  is  no  pleasure 
in  life  without  its  compensating  pain.  The  elderly  cavalier  in  the  violet 
coat,  that  might  do  credit  to  a  courtier’s  shoulders,  has  feasted  and  made 
merry.  That  the  cabinet  particulier  has  witnessed  a  savory  repast,  the 
remnants  of  it  on  the  table  show.  The  wines  have  been  of  the  right 
bouquet,  and  the  cordials  of  the  proper  flavor.  Moreover,  pleasant  com¬ 
pany,  and  pretty  withal,  has  added  zest  to  the  banquet.  Good  digestion 
has,  no  doubt,  waited  upon  appetite  until  the  confounded  waiter  brought 
in  the  bill.  He  is  an  incarnation  of  the  reveller’s  fate,  this  unmoved  vassal 
of  the  table,  who  leans  placidly  against  the  wall,  while  the  perplexed  guest, 
whose  hospitality  has  outrun  the  discretion  of  his  purse,  ponders  over  the 
items  he  has  consumed,  and  dips  into  his  pocket  for  the  wherewithal  to 
pay  for  them.  It  is  easy  to  see,  by  his  expression,  that  in  spite  of  his 
gay  attire,  his  exchequer  is  not  in  the  most  superabundantly  plethoric 

state.  Perhaps  it  is  just  as  well  that  his  fair  companion  should  make  her 

65 


AFTER  THE  SUPPER,  ONE  MUST  PAY. 


exit  before  an  explanation  is  arrived  at.  There  are  occasions  when  two 
parties  to  a  discussion  are  better  than  three,  and  this  is  likely  to  be  one 
of  them,  unless  all  the  signs  are  astray.  Moreover,  it  is  a  page  of  the 
history  of  human  nature  that  is  as  frequently  turned  to-day  as  in  the  time 
when  the  Bourbon  court  was  yet  making  merry  on  the  brink  of  the  vol¬ 
cano.  M.  Leloir’s  figures  wear  the  costumes  of  the  past.  The  comedy 
they  are  acting  out  is  eternal. 

The  date  of  the  picture  is  1870. 

66 


i 


MAD  RAZO  (Ricardo), 


Son  of  Federico  and  brother  of  Raimundo  de  Madrazo. 
reputation  as  a  painter  in  water  colors. 

No.  51 


Paris 

Has  acquired 


Pl.pf. 


VIEW  AT  GRENADA. 


l6  X  21. 

"  And  there  the  Alhambra  still  recalls 
Aladdin’s  palace  of  delight  ; 

Allah  il  Allah  !  through  its  halls 
Whispers  the  fountain  as  it  falls, 

The  Darro  darts  beneath  its  walls, 

The  hills  with  snow  are  white.” 

Henry  Wadsworth  Longfellow. 


The  Genii  and  the  gold-bearing  Darro  spring  from  two  narrow,  rocky 
valleys  on  the  eastern  declivity  of  the  Sierra  Nevada,  and  join  at  the  foot 
of  the  Cerro  de  Santa  Elena  to  send  their  united  waters  down  the  channel 
of  the  Genii,  to  mingle  with  the  Guadalquivir.  In  the  valley  of  the 
Darro,  on  both  its  banks,  and  on  the  eastern  and  southern  sides  of  the 
Cerro  de  Santa  Elena,  reaching  down  into  the  plain  where  the  Darro  and 
Genii  unite,  lies  the  most  ancient  city  of  Grenada.  The  high  back  of  the 
Cerro  is  crowned  by  the  strong  fortress  of  the  Alhambra.  That  part  of  the 
city  that  rises  on  the  right  bank  of  the  Darro  is  called  the  Albaycin,  and 
forms  in  some  degree,  like  the  Alhambra,  a  town  by  itself.  On  the  decliv¬ 
ities  of  the  Alhambra  and  the  Albaycin  the  houses  and  streets  rise  one 
above  another,  like  terraces,  mixed  with  luxuriant  gardens.  The  imme¬ 
diately  surrounding  country  exceeds,  if  possible,  the  other  parts  of  the 
Vega  in  fertility  and  luxuriant  vegetation.  The  narrower  parts  of  the 
valleys  of  the  Darro  and  Genii,  and  the  small  side  valleys  are  covered 
with  thick  groves  of  pomegranate  trees,  and  a  girdle  of  gardens  spreads 
itself  all  around  the  city.  Overhead  is  a  sky  of  deep  sapphire,  spotted 
with  fleecy  clouds,  and  the  horizon  is  walled  in  by  the  snowy  summits  of 
the  rocky  Sierras. 

Printed  in  water  colors,  and  is  dated  1871. 


67 


''  RICO  (Martin), 


Paris  and  Venice 


Bor7i  at  Madrid.  Pupil  of  Madrazo  the  elder  j  later  studied  in  Paris  and 
Rome.  Medals ,  Paris  (. Exposition  Universelle),  1878  ;  Chevalier  of  the 
Legion  of  Honor,  1878  ;  Cross  of  the  Order  of  Charles  III.  of  Spain. 


No.  52 

WASHERWOMEN  AT  POISSY. 

(BLANCHISSEUSES  A  POISSY.) 

14  X  20 f 


“  The  nightingales  were  singing, 

At  Poissy  on  the  Seine, 

As  I  leant  above  the  river, 

Flooded  high  with  summer  rain. 

Dear  is  that  royal  river, 

With  ceaseless,  noiseless  flow, 

Past  the  gray  towers  of  Paris 

From  the  woods  of  Fontainebleau  !  " 

Bessie  Rayner  Parkes. 


The  Seine  flows  its  placid  course,  under  a  summer  sky  full  of  light  and 
flecked  with  fleecy,  white  cloudlets.  A  tender  atmosphere  suffuses  the  land¬ 
scape  with  clear,  pure  blues  and  delicate  gray  greens,  soft  as  the  breath  of  the 
midsummer  breeze  that  scarcely  ruffles  the  surface  of  the  water.  On  both 
banks  of  the  stream  women  are  busy  washing  their  linen,  beating  it  upon  the 
stones  and  gossiping  as  they  work.  Some  men  in  a  passing  boat  shout  a 
jovial  salutation,  to  which  one  of  the  blanchisseuses  responds  merrily.  Among 
the  stones  of  a  grassy  islet  in  the  river  a  boy  is  fishing,  too  intent  upon  his 
sport  to  give  even  the  attention  of  childish  curiosity  to  what  is  going  on 
around  him.  A  boat  is  drawn  in  on  the  strand  near  by.  In  the  distance, 
over  the  farther  bank  of  the  river,  the  houses  of  the  town  are  seen.  The 
gayety  and  animation  of  a  perfect,  sunshiny  day  are  expressed  in  nature,  and 
reflected  in  the  humanity  which  gives  life  to  the  scene. 

The  picture  is  a  water  color. 

68 


SIMONETTI  (Attilio,  Cavaliere),  .  .  Naples  f  ^ 

Born  in  Rome.  Genre  Painter.  Pupil  of  Fortuny.  Professor  in  Naples. 

{.  A. 

No.  53 

A  CONCERT. 


WATER  COLOR. 


22  X  l6£.  1869. 

“  I  pant  for  the  music  which  is  divine, 

My  heart  in  its  thirst  is  a  dying  flower  ; 

Pour  forth  the  sound  like  enchanted  wine, 

Loosen  the  notes  in  a  silver  shower.” 

Percy  Bysshe  Shelley. 

One  can  imagine  the  melody  which  these  musicians  of  the  chamber  are 
discoursing  to  be  an  agreeable  one.  Their  countenances  wear  an  expression 
of  satisfaction  that  no  discords  could  call  up.  It  is  a  trio  of  aristocratic 
amateurs,  of  which  each  member  is  engrossed  in  his  share  of  the  concerted 
task  with  the  absorption  of  the  true  artist.  The  performer  on  the  flute  has 
laid  his  coat  by,  and  is  inspiring  his  tuneful  reed  in  his  shirt-sleeves.  The 
’cellist  looks  beyond  the  walls  of  the  chamber  into  a  space  full  of  musical 
dreams.  The  ecstatic  eyes  of  the  violinist  lose  sight  of  the  notes  as  he  draws 
them  under  his  bow  with  a  loving  hand.  Music  should  be  happily  at  home 
amid  such  surroundings.  The  rich  cabinet,  with  its  glass  doors  reflecting  the 
sumptuous  apartment,  the  screen  on  which  a  mandolin  is  suspended,  the 
table,  with  its  crystal  pitcher  and  glass,  combine  to  form  a  scene  of  luxury  in 
which  the  actors  in  the  episode  are  at  home,  and  in  which  the  strains  they 
concert  should  echo  with  a  richness  and  a  volume  befitting  their  confining 
walls. 


This  water  color  is  dated  1869. 


69 


Paris 


DETAILLE  (Jean  Baptiste  Edouard),  . 

Born  at  Paris,  1848.  Favorite  pupil  of  Meissonier.  Medals,  Paris,  1869, 
1870,  1872.  Chevalier  of  the  Legion  of  Honor,  1873  ;  Officer  of  the 
Same,  1881.  Grand  Medal  of  Honor,  1888. 


No.  54 

SCENE  IN  THE  FRANCO-PRUSSIAN  WAR. 

(Episode  de  la  guerre  franco-allemande.) 

8f  x  ii£. 

The  German  artillery  attack  is  decimating  the  French  line  of  battle  from 
a  distant  hill.  A  squadron  of  French  cuirassiers  is  making  a  charge,  closing 
up  as  they  ride,  the  gaps  torn  in  their  ranks  by  shot  and  shell.  The  dead  strew 
the  ground,  which  is  littered  also  with  cast-off  knapsacks  and  similar  para¬ 
phernalia  that  the  soldier  discards  on  going  into  battle.  Under  the  terrible 
fire  men  melt  away  like  snow  at  the  flame  of  a  furnace,  and  a  commanding 
general,  galloping  down  the  line,  orders  the  regiment  of  lancers  in  the  fore¬ 
ground  back  out  of  their  wanton  exposure  to  destruction.  The  commander 
of  the  regiment  salutes,  with  a  respectful  sword  and  a  reluctant  face.  The 
men,  from  their  position  of  enforced  inactivity,  watch  the  raging  of  the  fight 
with  eyes  of  discontent.  Over  all  the  smoke  of  combat  and  the  clouds  of  hot 
dust  beaten  up  by  feet  in  the  mad  hurry  of  destruction  sully  the  smiling  sky, 
and  are  rent  asunder  here  and  there  by  the  bursting  of  a  shell.  In  such  a 
scene,  it  is  no  wonder  that  the  soldier’s  blood  stirs,  and  his  heart  beats  angrily 
against  its  prisoning  bars.  With  the  challenge  to  the  combat  roaring  itself  at 
him,  and  the  wild  fascination  of  the  fight  tempting  him,  he  sits  helpless,  raging 
within  himself  at  the  discipline  which  has  fettered  his  hands  and  laid  his 
martial  usefulness  by  the  heels.  The  expression  upon  the  faces  of  M.  D^taille’s 
lancers  are  indices  to  the  martial  regrets  that  they  suffer.  In  each  one  reads 
the  contest  between  submission  to  the  iron  laws  of  command  and  the  stirring 
madness  of  battle. 

The  date  of  the  picture  is  1871,  and  it  is  painted  in  water  colors,  with 

great  minuteness  and  accuracy  of  detail. 

70 


FORTUNY  (Mariano), 


Deceased 


Born  in  Reus ,  Catalonia ,  June  n,  1839.  Pupil  of  the  Barcelona  Academy , 
Chevalier  of  the  Order  of  Charles  III.,  Prize  of  Rome  from  Spain, 
1858.  Died  in  Rome,  November  21,  1874.  Diploma  to  the  Memory 
of  Deceased  Artists  (Exposition  Universelle),  1878. 


No.  55 

PIFFERARI. 

19  X  9$. 

“  The  champaign  with  its  endless  fleece 
Of  feathery  grasses  everywhere  ! 

Silence  and  passion,  joy  and  peace. 

And  everlasting  wash  of  air, — 

Rome’s  ghost  since  her  decease.” 

Robert  Browning. 

He  sits  under  a  wall,  among  the  ruins  which  chronicle  his  country’s  great¬ 
ness  and  decline.  The  Roman  sunlight  warms  him,  while  it  soothes  his  senses 
as  he  blows  his  spirit  into  the  rude  and  simple  instrument  of  his  race.  He  is 
resting  from  a  journey,  as  his  staff  leaning  against  the  wall  denotes,  and  as  he 
sends  the  notes  of  his  pipe  wheezing  out  upon  the  air,  his  eye  dwells  listlessly 
upon  the  lean  flocks  grazing  amid  the  decay  of  an  empire.  His  uniform  is  that 
of  his  class  ;  a  vest  of  red  wool,  blue  breeches,  and  a  loose  shirt  of  coarse 
cotton  stuff  whose  white  sleeves  show  through  his  sleeveless  coat.  Simple  his 
wants  and  few,  he  has  achieved  the  crown  of  his  ambition,  idling  by  the  way- 
side,  and  silencing  with  the  drone  of  his  bagpipe  the  sleepy  murmur  of  the 
cicadas  and  the  dull  buzzing  of  the  wandering  bee. 

The  picture  is  a  water  color,  of  Fortuny’s  later  Roman  period.  Is  dated 
1868, 


71 


MEISSONIER  (Jean  Louis  Ernest),  .  .  Paris 


>! 


Born  at  Lyons ,  1813.  He  went  to  Paris  when  quite  young,  and  was,  for  a 
time,  a  pupil  of  Ldon  Cogniet.  First  exhibited  at  the  Salon  in  1836.  His 
picture  “A  Dream  ”  (1855)  was  purchased  by  Napoleon  III.  and  presented 
to  the  late  Prince  Albert ,  of  England.  Medals,  Paris,  1840,  1841,  1843, 
1848.  Grand  Medal  of  Honor,  1855  (. Exposition  Universelle).  One  of 
the  eight  Grand  Medals  of  Honor  (. Exposition  Universelle ),  1867  ;  Grand 
Medal  of  Honor  ( Exposition  Universelle'),  1878  ;  Chevalier  of  the  Legion 
of  Honor,  1846;  Officer  of  the  Same,  1856  ;  Commander  of  the  Same, 
1867  ;  Grand  Officer  of  the  Same,  1878.  Member  of  the  Institute  of 
France,  1861.  Honorary  Member  of  the  Royal  Academy,  London. 


No.  56 

CAPTAIN  OF  THE  GUARD— LOUIS  XIII. 

PORTRAIT  OF  THE  ARTIST. 

10  x  7. 


He  stands  in  the  gateway  of  the  guard-house,  surveying  the  passing  of  the 
town  with  martial  disdain.  There  is  a  suggestion  of  insolence  in  his  attitude, 
erect,  with  one  foot  slightly  advanced,  and  his  right  hand  resting  on  his  hip 
and  flipping  a  riding  whip  as  if  impatient  of  so  childish  a  toy.  His  soldierly 
face,  tanned  by  the  sun  of  long  campaigns  and  the  smoke  of  battles,  is  haughty 
but  good-humored.  His  gray  moustaches  bristle  gallantly,  and  the  twist  to  his 
imperial  denotes  that  he  has  just  twirled  it,  perhaps  at  some  passing  damsel, 
whose  comeliness  has  caught  his  fancy.  Resting  his  left  wrist  on  the  hilt  of 
his  long  sword,  he  holds  in  his  left  hand,  by  its  fingers,  a  glove  with  which  he 
beats  time  against  the  handle  of  his  trusty  blade.  Over  his  gray  coat  lined 
with  pink  a  polished  breastplate  flashes  in  the  sun.  The  blue  plume  in  his 
hat  cocks  itself  audaciously.  His  legs  are  encased  in  claret  velvet  breeches 
and  high  boots  of  Spanish  leather.  Whether  it  be  to  ride  to  a  duel  or  a 
trysting  place,  to  a  court  reception  or  a  field  of  battle,  here  is  one  who  is 
equally  ready  for  the  task,  whatever  it  may  be. 

The  reign  of  Louis  XIII.  was  preeminently  that  in  France  during  which 

the  gentleman  adventurer  flourished.  The  kingdom  was  filled  with  soldiers  of 
72 


CAPTAIN  OF  THE  GUARD — LOUIS  XIII. 


fortune.  The  wars  and  the  court  intrigues  held  boundless  possibilities  for  the 
intrepid  scions  of  decayed  and  impoverished  families,  and  France  was  never 
richer  in  gallant  soldiers  than  then.  Alexandre  Dumas,  in  the  greatest  of  his 
romances,  “  The  Three  Musketeers,”  draws  the  character  of  these  cadets  of 
fortune  admirably  in  his  famous  hero  D’Artagnan.  It  is  a  soldier  of  the 
D’Artagnan  stripe  that  M.  Meissonier  paints  in  his  “  Captain  of  the  Guard,” 
a  cavalier  for  whom  life  is  full  of  delights,  and  of  gallant  adventures,  who 
carries  a  splendid  presence  with  a  stride  of  pride,  and  loves  the  material  pleas¬ 
ures  of  existence  with  no  cold  heart ;  but  above  all,  a  soldier  to  the  backbone, 
who  values  his  uniform  and  his  honor  above  his  life,  and  who  will  go  forth 
from  the  banqueting-board  to  the  battle-field  as  gayly  as  the  lover  hastens  to 
the  rendezvous  where  he  is  to  meet  a  welcome  of  warm  lips  and  white  arms. 

The  picture  is  dated  1870,  and  is  painted  in  water  colors. 

73 


d  3  o 

%.  Xi.  x 


TROYON  (Constantine),  ....  Deceased 

Born  at  Sivres,  1810.  His  parents  wished  him.  to  be  a  painter  of  porcelain , 
but  after  a  tii7ie  spent  in  the  manufactory  at  S'evres,  he  studied  under 
Rivereux,  and  became  a  painter  of  landscapes  and  animals.  Medals, 
Paris ,  1838,  1840,  1846,  1848,  1855.  Chevalier  of  the  Legion  of  Honor, 
1849.  Member  of  the  Amsterdam  Academy.  Died,  1865.  Diploma  to 
the  Memory  of  Deceased  Artists  (. Exposition  Universelle ),  1878. 

No.  57 

NORMANDY  CATTLE. 

6\  x  12^. 


“  I’ve  two  great  bullocks  in  my  stall, 

Two  great  white  bullocks  mixed  with  roan, 

Ponderous  the  plough  is  that  they  haul, 

Massive  the  yoke  their  necks  placed  on.” 

Pierre  Dupont. 


The  foreground  is  occupied  by  a  red  bull  with  a  white  frontlet,  a  close 

study  of  cattle  character  of  the  breed  this  great  master  loved  to  paint,  which 

is  looking  out  of  the  picture  as  if  its  attention  had  been  suddenly  aroused. 

A  dun  cow  of  the  true  Norman  breed  stands  behind  it  in  a  quiet  attitude. 

There  is  another  cow  under  a  tree,  and  a  herdsman’s  shaggy  dog — that  famous 

dog  that  Troyon  always  clung  to — completes  the  composition. 

The  landscape  is  simple,  and  the  sky  threatens  a  storm.  The  coloring  is 

low  in  tone,  rich  and  powerful. 

74 


V 


/  / 

DETAILLE  (Jean  Baptiste  Edouard),  .  .  Paris 

Born  at  Paris ,  1848.  Favorite  pupil  of  Meissonier.  Exhibited  at  Salon ,  in 
1868,  his  “  Halt  of  Infantry,"  which  received  much  praise,  and  in  1869 
the  “  Rest  During  Drill  at  Camp  St.  Maur Medals,  Paris,  1869, 
1870,  1872.  Chevalier  of  the  Legion  of  Honor,  1873  ;  Officer  of  the 
Same,  1881  ;  Grand  Medal  of  Honor,  1888. 


^  / 


No.  58 

LES  INCROYABLES— FOREST  OF  ST.  GERMAIN. 


9^  x 


The  incroyable  was  one  of  the  most  curious  products  of  the  great  French 
Revolution.  He  was  the  antithesis  of  the  revolutionist,  the  sans-culotte  who 
gave  too  much  attention  to  death  to  spare  time  for  dress.  The  maddest 
extravagance  of  dandyism  was  indulged  in  by  the  incroyable,  who  won  his 
familiar  nickname  by  the  incredible  exaggeration  of  his  costumes  and  customs. 
He  literally,  as  his  title  would  imply,  carried  his  worship  of  the  wild  vagaries 
of  foolish  fashion  past  all  belief.  His  appearance  was  a  sort  of  protest  against 
the  brutal  abandonment  of  all  the  gentler  practices  of  life  that  characterized 
the  reaction  against  aristocratic  and  polite  existence  which  came  with  the 
commencement  of  the  revolution,  and  he  lasted  as  a  public  character  till  the 
great  Napoleonic  wars  left  no  place  in  France  for  anyone  but  soldiers.  M. 
D£taille  shows  him  in  all  his  glory,  a  perfect  epitome  of  colors,  as  gay  as  a 
butterfly,  swaggering  down  the  great  promenade  of  the  Palace  Park  of  St. 
Germain,  with  his  long  stick  in  his  hand. 


The  date  is  1871. 


75 


PETTENKOFFEN  (Prof.  August  von), 


Vienna 


Born  in  Vienna ,  1821.  Genre  painter  of  great  local  reputation ,  Member  of  the 
Royal  Academies  of  Vienna  and  Munich.  Knighted  in  1876. 


“  Courtesy  to  an  artist  who  is  very  much  of  a  stranger  demands  that  some  space  should 
be  given  to  the  distinguished  Austrian,  August  Pettenkoffen.  Pettenkoffen  was  born  in 
Vienna  in  1823,  and  at  the  Academy  of  Art  in  that  city  first  served  his  apprenticeship  to 
painting.  The  German- Austrian  school  was  a  school  moving  ponderously  down  to  a  hopeless 
decadence,  in  those  days  before  the  arising  of  Matejko,  Munkacsy,  Makart  and  Pettenkoffen 
himself.  Happily  the  young  student,  though  imprisoned  in  an  almost  monastic  retirement  from 
art-movements,  heard  the  report  of  a  little  band  of  seekers  and  searchers — Troyon,  Rousseau, 
Meissonier,  in  Paris,  and  Leys  and  Stevens  and  Willems,  in  Belgium — who  were  courageous 
enough  to  ask  Nature  for  her  secret  face  to  face.  This  gospel  of  glad  tidings  was  his  earthly 
salvation.  But,  in  the  mean  time  arrived  his  turn  at  the  national  conscription,  and  the  young 
man,  drafted  into  the  troops  of  Francis  Joseph,  fulfilled  his  duties  like  an  honest  soldier,  and 
was  promoted  with  remarkable  rapidity  to  the  grade  of  captain.  The  profession  of  arms, 
however,  was  unable  to  keep  possession  of  a  spirit  that  had  tasted  of  artistic  delights.  The 
young  man  had  viewed  his  military  routine  with  the  eye  of  a  painter  ;  it  remained  for  him  to 
drill  his  artistic  faculties  with  the  severity  of  a  captain. 

“  Resuming  the  practice  of  art,  he  determined  to  devote  himself  to  his  profession  from  the 
military  point  of  view,  feeling  that  no  one  else  could  recount  so  well  the  field-scenes  which 
had  passed  before  his  eyes.  The  event  has  justified  him,  and  delivered  to  the  world  a  mass 
of  incidents  of  the  Austrian  army  and  its  wild  Hungarian  contingent  such  as  would  have 
been  lost  to  posterity  without  his  aid.  The  young  artist  was  now  ready  to  carry  out  a  project 
which  had  tempted  him  in  his  salad-days  at  the  Vienna  Academy,  and  repair  to  France  for  a 
more  exquisite  culture  in  the  things  which  belonged  to  his  peace.  Only  at  Paris,  in  the 
epoch  of  1850,  could  be  found  a  group  of  seekers  and  teachers  capable  of  satisfying  an  earnest 
seeker  after  verity.  He  finished  a  few  portraits  at  Vienna — portraits  of  his  relations  and 
neighbors,  as  much  to  please  the  originals  as  to  get  his  pencil-hand  in  practice  again — and 
departed  for  the  French  capital,  carrying  with  him  two  canvases  traced  over  with  the  sketches 
of  two  pictures,  ‘  The  Spy,’  and  ‘  Marauders  Dividing  Booty,’  the  last  of  which  found  when 
finished,  a  resting  place  in  the  collection  of  Sir  Richard  Wallace. 

“  A  minutely  invented,  careful  and  toilsome  series  of  exquisite  studies,  representing 
scenes  of  army-life  in  the  troops  he  had  just  quitted,  or  village  groups  from  Bohemia  and 
Hungary,  have  occupied  his  time  incessantly.  He  has  learned  from  the  contemplation  of 
the  Wouvermans  and  Van  de  Veldes  how  much  can  be  imparted  in  a  small  panel  finished 
in  the  grand  manner,  and  his  ambition  has  restricted  itself  to  the  discerning  treatment 
of  reality.” 


76 


The  Art  Treasures  of  America. 


MARKET  SCENE  IN  HUNGARY. 


No.  59 

MARKET  SCENE  IN  HUNGARY. 

(MARCHE  HONGROIS.) 

7  x  9. 


“  *  *  *  Hark  the  noise  ! 

The  laugh  and  shout  of  village  boys. 

The  sound  of  cymbals  cleaves  the  air  ; 

The  gypsy-player  tarries  there.” 

Alexander  Petofi. 


An  open-air  market  in  a  Hungarian  village.  In  the  foreground  are  groups 
of  men  and  women  seated  and  standing  around  the  base  of  a  stone  boundary- 
post.  The  middle  distance  is  filled  with  market  wagons  and  chaffering  sellers 
and  buyers,  horses,  cattle  and  idling  figures.  Beyond  the  crowd  one  sees  a 
well  sweep  and  the  roofs  of  the  village.  The  scene  is  very  animated,  and  the 
colors  in  the  women’s  costumes  lend  it  a  certain  gayety.  The  types  of 
character  are  varied,  picturesque,  and  full  of  interest,  and  the  suggestion  of 
barbaric  movement  and  color  is  admirably  conveyed,  while  the  Magyar  char¬ 
acteristics  of  the  scene  and  the  actors  in  it  are  thoroughly  preserved  and 
depicted.  So  closely  is  the  detail  of  the  scene  followed,  that  even  the  vege¬ 
tables  and  other  objects  exposed  for  sale  will  be  recognized  by  native  Hun¬ 
garians  as  of  local  origin. 

Dated  1853. 

77 


Deceased. 


ZAMACOIS  (Edouard), 


Born  in  Bilboa  in  1842.  Died  at  Madrid ,  1871.  Genre  painter.  Pupil 
of  Balaco,  then  of  Madrid  Academy  under  Federico  de  Madrazo ,  and 
in  Paris  of  Meissonier.  Treated  seventeenth-century  subjects  with  great 
success.  Medals,  Paris,  1867.  Munich ,  1870.  Diploma  to  the  Memory 
of  Deceased  Artists  ( Exposition  Universelle),  Paris ,  1878. 


No.  60 

A  COURT  JESTER. 

(LE  FOU  DU  ROI.) 

6x5. 

“  The  jester  shook  his  hood  and  bells  and  leaped  upon  a  chair  ; 

The  pages  laughed  ;  the  women  screamed  and  tossed  their  scented  hair  ; 

The  falcon  whistled  ;  stag-hounds  bayed  ;  the  lap-dog  barked  without  ; 

The  scullion  dropped  the  pitcher  brown;  the  cook  railed  at  the  lout; 

The  steward,  counting  out  his  gold,  let  pouch  and  money  fall; 

And  why  ?  Because  the  jester  rose  to  say  grace  in  the  hall.” 

Walter  Thornbury. 

The  court  jester  was  the  censor  of  a  corrupt  age.  Zamagois  was, 
after  his  fashion,  the  court  jester  of  his  art  in  our  own  time.  His  muse 
was  always  merry,  but  with  a  strong  strain  of  scorn  and  satire  in  it.  It 
was  the  art  of  a  deep-thinking  and  sincere  reformer  that  he  practiced,  and 
he  has  left  us  pictures  that  will  be  immortal  for  their  shrewd  and  bitter 
sarcasm  and  true,  however  sardonic,  commentary  upon  human  nature.  The 
jester  was  a  favorite  subject  with  him.  In  this  instance  he  represents  him 
attired  entirely  in  scarlet,  seated  on  a  couch  covered  with  yellow  brocade  in 
a  palatial  interior.  He  is  picking  at  a  mandolin,  and  his  face  wears  a  sardonic 
expression.  A  richly-colored  rug  is  at  his  feet.  Through  a  large  window  the 
trees  of  a  park  are  seen.  The  coloring  is  vivid  and  daring  in  arrangement, 
and  brilliant  in  result. 

The  date  of  the  picture  is  1868. 

78 


VI BERT  (Jean  Georges), 


Paris  f  if  s 


Born  in  Paris ,  1840.  Pupil  of  /’ Ecole  des  Beaux- Arts,  and  of  Barrias , 
Paris.  Medals,  Paris,  1864,  1867,  1868,  1878  (. Exposition  Universelle). 
Chevalier  of  the  Legion  of  Honor ,  1870. 


No.  61 


THE  FIRST-BORN. 

(LE  PREMIER  NE.) 

15  X  18. 


The  divinest  instinct  that  is  implanted  in  the  human  breast  is  that  which 
hedges  childhood  about  with  the  self-sacrificing  safeguards  of  maternity  and 
paternity.  The  noblest  deeds  of  heroism  and  self-sacrifice  recorded  of  the 
human  race  are  those  of  the  father  and  the  mother  given  to  the  child.  The 
one  attribute  of  serious  humanity  at  which  the  most  hardened  cynic  dares 
not  scoff,  is  that  of  parental  love.  Even  the  most  indurated  and  calloused 
mocker  at  the  true  sentiments  of  his  race  cannot  forget  that  he  was  once 
a  child,  and  that  some  one  toiled  and  suffered  for  his  sake,  as  others  are  and 
will  be  toiling  and  suffering  for  their  little  ones  until  the  globe  whirls  into 
fathomless  space  and  the  heavens  open  as  a  scroll.  And  of  all  the  love 
and  tenderness  that  falls  to  childhood,  the  greatest  and  the  warmest  part 
belongs,  beyond  a  doubt,  to  the  first-born. 

It  is  in  the  commencement  of  a  family  that  the  romance  of  domes¬ 
ticity  begins.  The  first  baby  is  the  emblem  and  the  seal  of  love,  whether  it 
rest  in  the  hovel  or  a  palace.  It  is  in  the  latter  setting  that  M.  Vibert  pre¬ 
sents  his  “  First-Born  ”  to  us.  In  a  splendid  French  interior,  of  the  period  of 
Louis  XV.,  a  young  mother  and  father  are  watching  at  the  side  of  the  tiny 
pledge  of  their  affection.  The  babe  lies  on  a  couch  covered  with  a  sump¬ 
tuous  green  and  flowered  brocade.  The  father,  in  a  gay  suit  of  the  Court 

cut,  is  seated  on  the  right,  intently  contemplating  the  child.  The 

79 


THE  FIRST-BORN. 


mother  has  dropped  her  knitting  and  arisen,  on  the  left,  as 
pate  some  want  of  the  little  one,  and  one  can  almost  hear  her 
old  Gallic  lullaby : 


“  Do — do  l’enfant  dor — 

L’enfant  dormira  tantot; 
La  Vierge  benitd 
Endormd — moi  cet  enfant 
Jusqu’a  quand  il  sera  grand 
II  dira  ;  papa— mama.” 

The  picture  is  dated  1872. 

80 


if  to  antici- 
crowing  the 


y 

DAUBIGNY  (Charles  Francois),  .  .  Deceased  r  ^r/v 


Born  at  Paris,  1817.  Pupil  of  his  father  and  Paul  Delaroche,  and  for  three 
years  studied  in  Italy.  Medals ,  1848,  1853,  1855,  1857,  1859,  1869. 
Chevalier  of  the  Legion  of  Honor ,  1859.  Officer  of  the  Same ,  1874. 
Died ,  1878.  Diploma  to  the  Memory  of  Deceased  Artists  ( Exposition 
Universelle ),  1878. 


No.  62 

LANDSCAPE— ON  THE  RIVER  MARNE. 

(PAYSAGE— RIVIERE  MARNE.) 

14  x  25^. 

"  The  art  of  this  illustrious  master  consists  in  choosing  well  a  bit  of  country  and  painting 
it  as  it  is,  inclosing  in  its  frame  all  the  simple  and  name  poetry  which  it  contains.  No  effect 
of  studied  light,  no  artificial  and  complicated  composition,  nothing  which  allures  the  eyes, 
surprises  the  mind  and  crushes  the  littleness  of  man.” 

Edmond  About,  “  Salon  de  1864.’’ 

The  river  bank  rises  from  the  calm  stream  in  a  gentle  slope,  well  grassed 
and  crested  with  sturdily  verdured  thickets.  The  line  of  shore  carries 
itself  away  in  a  picturesque  undulation,  sufficiently  relieved  by  clumps  of 
foliage  without  having  its  simplicity  of  surface  disturbed.  A  sky  of  tender 
grays  and  pearls  accentuates  the  simple  but  rich  color  of  the  landscape.  It 
is  nature,  embellished  by  no  liberties  with  the  rules  of  composition,  yet  com¬ 
posing  itself  into  a  picture  whose  modest  force  has  a  dignity  no  studied  com¬ 
position  could  possess. 

The  picture  is  dated  1863. 

81 


I 


RICO  (Martin) . .  Venice 

Born  at  Madrid.  Pupil  of  Madrazo  the  elder  j  then  studied  in  Paris 
and  Rome.  Medal ,  Paris  ( Exposition  Universelle),  1878  ;  Chevalier 
of  the  Legion  of  Honor ,  1878  ;  Chevalier  of  the  Order  of  Charles 
III.  of  Spain. 


No.  63 

MOORISH  HOUSE  AND  COURT— GRANADA. 

(MAISON  MAURESQUE— GRENADE.) 

13  x  23- 


At  the  doorway  where  the  harem  once  passed  out  to  its  promenade 
of  the  garden,  some  humble  Dolores  sits  spinning.  At  the  window,  through 
which  the  Pasha  may  have  watched  his  favorite  feeding  her  goldfish  in 
the  fountain,  in  the  days  before  the  last  Abencerrage  fled  beyond  the 
plain,  an  humble  artificer  chatters  at  his  work  with  a  village  gossip,  her 
baby  in  her  arms.  In  the  cool  gloom  of  the  deteriorated  palace,  the  bang¬ 
ing  of  a  loom  is  echoing,  like  a  lingering  menace  of  the  warlike  clamor 
which  awoke  Granada  from  her  dream  of  eternal  peace,  and  swept  her 
glory  away  like  the  phantasm  of  a  dream.  The  walls  are  stained  with 
mould ;  the  dainty  tracery  of  the  artist’s  chisel  is  crumbling  and  melting 
away  under  stress  of  wind  and  weather ;  grass  is  springing  over  the  broken 
pavement,  laid  for  the  promenade  of  princes  and  worn  by  the  feet  of  con¬ 
quering  churls ;  and  the  fountain  has  wept  its  last  tears  for  the  degrada¬ 
tion  of  the  fallen  house,  and  gone  sluggishly  to  sleep  in  its  decaying  basin. 
Such  is  all  the  Granada  of  to-day,  the  corpse  of  a  dead  civilization  that 
has  become  one  of  the  romances  of  history,  dessicated  by  the  sun  that 

gilded  its  splendor  and  that  mocks  its  ruin. 

82 


mm 


MEISSONIER  (Jean  Charles),  .  .  .  Paris 

Born  in  Paris.  Pupil  of  his  father ,  J.  L.  E.  Meissonier ,  like  whom  he 
paints  Eighteenth  Century  scenes  i?i  the  style  of  the  old  Dutch  Masters. 
Medal ,  1866. 


No.  64 


0~C> 


STORY  OF  THE  CAMPAIGN. 


(REMINISCENCES  DE  GUERRE.) 


17i  x  14. 


“  Like  an  old  soldier,  telling  of  the  wars, 

Buying  his  bed  and  supper  with  the  tale, 

And  coining  comfort  from  his  unhealed  scars.” 

Sir  Walter  Scott. 


A  vagrant  man-at-arms,  tramping  from  one  mercenary  service  to 
another,  has  applied  for  food  and  shelter  at  a  chateau  by  the  way.  The 
master  of  the  house  accords  him  hospitality,  and  takes  as  compensation 
for  it  his  guest’s  gossip  from  the  wars.  The  campaigner  sits  upon  a 
settle  by  the  kitchen  fire,  a  dish  in  his  lap,  a  knife  in  his  hand,  a  wine-jar 
on  the  seat  beside  him,  and  his  long  sword  within  ready  reach.  He  revels 
in  the  rude  comforts  of  an  ample  meal,  seasoned  by  the  talk  that  pleases 
him  best.  His  host,  standing  with  his  back  to  the  fire,  puffs  a  pipe  while 
he  listens  and  looks  on.  The  chat  of  his  guest  awakens  in  him  memories 
of  his  own  stirring  adventures  by  flood  and  field.  He  lives  again  with  the 
speaker  the  campaign  from  which  he  has  come.  For  one  night,  at  least, 
the  old  vagabond  free  lance  will  enjoy  the  repose  accorded  to  an  honored 
guest. 

The  period  of  the  picture  is  the  Seventeenth  Century,  and  it  is  dated 
1871. 


83 


ZAMACOIS  (Edouard),  ....  Deceased 

Born  at  Bilboa ,  Spain,  1843.  Pupil  of  Meissonier.  Made  his  ddbut  at  the 
Salon  of  1863.  Medal,  Paris,  1867.  Died,  1871.  Diploma  to  the 
Memory  of  Deceased  Artists  ( Exposition  Universelle),  1878, 


No.  65 

LEVYING  CONTRIBUTIONS. 

(CONTRIBUTIONS  INDIRECTES.) 

12  x  15. 


Painted  in  1866,  and  exhibited  at  the  Salon  in  the  Spring  of  1867,  “  Con¬ 
tributions  Indirectes  ”  attracted  to  the  artist  the  attention  of  all  Paris.  It 
was  the  first  of  the  series  of  satires  upon  monkish  life  which  the  gifted  young 
pupil  of  Meissonier  took  up.  The  wit  of  the  painter  flashed  in  it  with  the 
keenness  of  a  steel  blade,  and  within  twenty-four  hours  it  had  become  the  topic 
of  the  hour. 

In  the  court-yard  of  a  superb  chateau  of  the  middle  of  the  Seventeenth 
Century,  a  mendicant  friar,  having  halted  on  his  regular  round  of  levying  con¬ 
tributions  upon  the  neighborhood,  receives  entertainment  for  himself  at  the 
hands  of  several  roguish  hosts.  He  sits  upon  a  bench,  sipping  at  a  cup  of 
chocolate,  while  his  entertainers  exchange  their  badinage  with  him,  and  at  his 
expense.  An  elderly  cavalier  with  a  swagger  of  authority  about  him,  stands 
at  his  right,  resting  one  hand  upon  his  long  cane.  He  is  richly  and  gayly 

dressed.  There  is  a  smile  of  mockery  on  his  face,  and  that  he  speaks  scoff- 
84 


LEVYING  CONTRIBUTIONS. 


ingly,  his  attitude  and  expression  alike  clearly  testify.  Seated  on  the  bench, 
a  young  lady,  in  a  sumptuous  toilette  of  blue  satin  and  lace,  stirs  a  posset  in  a 
glass,  and  jests  with  the  friar.  Behind  him  a  young  cavalier  is  about  to  pull 
the  cowl  from  his  head.  The  monk  endures  the  entire  proceeding  with  stolid 
philosophy.  He  is  sufficiently  satisfied  with  receiving  his  taxes,  direct  and 
indirect,  to  submit  to  furnishing  some  diversion  to  those  he  taxes.  The  end 
justifies  the  means,  and  humility  is  practiced  for  profit.  The  composition 
has  all  the  qualities  which  made  Zamagoi's  famous.  The  picturesque  and 
the  grotesque  combine  in  it,  the  individualizations  of  the  characters  are 
full  of  force  and  humor,  and  the  witty  idea  is  realized  with  cutting  brill¬ 
iancy.  The  spirit  of  Molibre  breathes  in  the  brush  of  his  artistic  successor, 
who  in  our  own  century  repeated  with  his  brush  the  triumphs  won  by  the 
creator  of  Tartuffe  with  his  pen. 


85 


VERNET  (Emile  Jean  Horace), 


Deceased 


Born  in  the  Louvre ,  Paris ,  June  30,  1789.  Died  in  Paris ,  January  17, 
1863.  Son  of  Charles  Vernet  and  grandson  of  Joseph  Vernet.  Pupil 
his  father  and  of  Vincent ,  and  commenced  an  independent  career 
as  a  painter  in  1809.  First-Class  Medal,  1812.  Chevalier  of  the 
Legion  of  Honor,  1814.  Officer  of  the  Same,  1825  ;  Commander  of 
the  Same,  1842.  Member  of  the  Lnstitute ,  1826.  Director  of  the 
French  Acadeniy  at  Rome,  1828.  French  Representative  at  the  Roman 
Court,  1830.  Grand  Medal  of  Honor,  1855. 


No.  66 

THE  ORIGINAL  STUDY  OF  JUDITH. 

2 3i  *  21. 

Vernet’s  “Judith”  was  one  of  the  pictures  produced  by  him  during  his 
residence  in  Rome,  as  director  of  the  French  Academy  in  the  Immortal  City. 
He  was  appointed  to  this  post  in  1828,  and  held  it  until  1835.  The  date  of 
his  original  study  for  the  “  Judith”  is  1830.  It  is  evidently  a  portrait  of  some 
choice  model  in  whom  the  painter  found  an  inspiration  for  his  scriptural 
heroine.  The  type  is  Italian,  of  that  order  in  which  is  perpetuated  some  of 
the  barbarically  patrician  pride  and  haughty  beauty  of  an  Italy  that  has  long 
since  vanished  into  history.  She  is  a  big,  strong  woman,  this  Roman  model, 
with  her  luxuriant  hair,  black  and  glossy  as  a  raven’s  wing,  her  great  eyes,  the 
orbs  of  “ox-eyed  Juno,”  with  their  regularly  pencilled  brows,  her  set  and 
cruel  lip,  and  her  flesh  of  ivory,  full  and  firm  with  healthy  blood  and  brawn. 
The  artist  departed  very  slightly  from  this  original  when  he  subsequently 

introduced  her  into  his  picture. 

86 


SCHREYER  (Adolf) . Paris  jroa. 


Born  in  Frankfort,  1828.  Pupil  of  Stddel  Institute ,  Frankfort ;  studied  the 
horse  anatomically  in  the  riding  school ;  later ,  in  Stuttgart,  Munich  and 
Diisseldorf.  Travelled  extensively  in  the  East  and  throughout  Europe. 
Member  of  Antwerp  and  Rotterdam  Academies.  Medals,  Brussels,  1863  ; 
Paris,  1864,  1865,  1867  ;  Munich,  1876  ;  Chevalier  of  the  Order  of 
Leopold \  1866  ;  Court  Painter  to  the  Grand  Duke  of  Mecklenburg,  1862. 


No.  67 

WINTER  IN  WALLACHIA. 

(HIVER  EN  VALACHIE.) 

18  x  29. 


"No  product  here  the  barren  hills  afford 
But  man  and  steel, — the  soldier  and  his  sword  ; 

No  vernal  blooms  these  torpid  rocks  array, 

But  winter,  lingering,  chills  the  lap  of  May.” 

Oliver  Goldsmith. 


The  snows  are  on  the  Danubian  Principalities,  and  what  pass  for  highways 
across  the  vast  expanses  of  swamp  and  grazing  land  are  deep  with  mire.  The 
team  dragging  the  ponderous  freight  wagon  through  this  dreary  waste  have 
all  that  they  can  do  to  keep  the  wheels  from  being  held  fast  by  the  fingers  of 
the  greedy  earth  till  the  frost  makes  them  effectually  prisoners.  The  team¬ 
sters  lash  the  straining  brutes  with  furious  blows,  the  strained  joints  crack,  the 

harness  creaks  ominously,  the  wagon  racks  and  complains  as  it  struggles 

87 


WINTER  IN  WALLACHIA. 


against  the  tension  put  upon  it,  and  to  add  to  the  excitement  and  confusion 
of  the  scene,  the  overcast  sky  is  full  of  the  promise  of  a  coming  snowstorm,  to 
encounter  which  is  to  invite  the  menace  of  a  death  of  frost,  amid  the  waste 
places  of  the  abandoned  plain.  It  is  one  of  those  occasions  when  no  moment 
is  to  be  lost,  and  no  exertion  spared,  for  the  fading  of  the  last  gleam  of  cheer¬ 
less  and  warmthless  light  from  the  desolate  landscape  may  be  the  last  moment 
of  his  life  to  reveal  to  the  belated  wanderer  the  light  of  day. 


/ 


GEROME  (Jean  Leon), . Paris  ✓ 

Born  at  Vesoul ,  France,  1824.  Went  to  Paris  1841,  and  entered  the  studio 
of  Paul  Delaroche,  at  the  same  time  following  the  course  at  V Ecole 
des  Beaux-Arts.  In  1844  he  accompanied  Delaroche  to  Italy.  He 
made  his  debut  at  the  Salon  in  1847  with  “  Un  Combat  de  Coqs."  In 
1 853  and  185 6'  he  traveled  in  Egypt  and  Turkey ,  studying  closely  the 
history  and  customs  of  those  countries.  Medals ,  Paris,  1847,  1848,  1855 
(. Exposition  Universelle)  ;  Member  of  the  Institute,  1865  ;  Medal  of 
Honor  ( Exposition  Universelle),  1867  ;  Medal  of  Honor,  1874;  Medal 
for  Sculpture,  and  one  of  the  eight  Grand  Medals  of  Honor  ( Exposi¬ 
tion  Universelle ),  1878;  Chevalier  of  the  Legion  of  Honor,  1855;  Officer 
1867  ;  Commander  of  the  Same,  1878  ;  Chevalier  of  the  Order  of  the 
Red  Eagle,  Member  of  the  Royal  Academy,  London  j  Professor  at 
I’JEcole  des  Beaux-Arts. 

No.  68 

MOLIERE  BREAKFASTING  WITH  LOUIS  XIV. 

AT  VERSAILLES. 

(MOLIERE  ET  LOUIS  XIV.) 
i6|  x  29L 


Jean  Baptiste  Poquelin,  with  the  self-selected  professional  name  of  Moli¬ 
ere,  with  which  he  baptized  himself  when  he  took  to  the  stage,  and  under 
which  he  is  immortal,  was  the  son  of  an  upholsterer  of  Paris,  who  was  later 
in  life  a  valet-de-chambre  to  the  king.  Moliere  was  born  in  Paris,  on  January 
15,  1622.  There  are  absolutely  no  reliable  data  about  his  early  life,  save 
that  at  the  age  of  fourteen  he  was  sent  to  the  College  de  Clermont,  a 
Jesuit  Seminary  in  his  native  city,  and  that  after  leaving  college  he  attended 
the  lectures  of  Gassendi.  He  undertook  a  translation  of  Lucretius,  which 
is  now  utterly  lost,  excepting  for  a  single  passage  in  the  fourth  scene  of 
Act  II.  of  his  “Misanthrope;”  commenced  to  study  law  about  1641,  and 
in  1645  turned  actor,  and  went  for  a  dozen  years  roving  about  the  country 
with  a  band  of  strolling  players. 

It  was  during  this  period  of  his  career  that  he  took  to  play-writing. 
His  first  play,  “  L’Etourdi,”  was  presented  in  Lyons  in  1653.  Finally, 

89 


| 


I 


MOLIERE  BREAKFASTING  WITH  LOUIS  XIV.  AT  VERSAILLES. 


drifting  back  to  Paris,  he  encountered  the  Prince  de  Conti,  who  had  been 
a  school-fellow  with  him  at  Clermont,  and  through  the  Prince’s  power 
obtained  permission  to  act  before  the  king.  Louis  was  so  pleased  by  the 
performance,  and  the  Prince  de  Conti  supported  his  old  college  comrade 
so  manfully,  that  Molibre  was  given  permission  to  establish  himself  and 
his  troupe  in  Paris.  Now  began  to  appear  his  superb  series  of  comedies, 
which  found  their  splendid  crown  in  “  Tartuffe,”  in  1669.  Four  years  later, 
on  February  17th,  1673,  while  acting  in  “  Le  Malade  Imaginaire,”  which  he 
had  but  just  written,  Molibre  was  taken  with  a  hemorrhage,  and  died  at 
ten  o’clock  that  night.  His  life  had  been  a  light  and  merry  one  in  spirit. 
His  fearless  satire  had  offended  the  Church.  By  some  it  is  even  hinted 
that  he  had  early  in  life  become  a  priest  and  broken  his  vows.  At  any 
rate,  he  died  in  a  state  of  excommunication  ;  and  the  Church,  which  had 
refused  him  the  final  rites  of  religion  when  he  implored  them  in  his  last 
gasp,  refused  him  also  Christian  burial.  The  king’s  absolute  command 
alone  secured  for  the  greatest  comic  dramatist  that  ever  lived  burial  in 
consecrated  ground,  and  then  only  a  private  interment,  performed  by  a 
party  of  a  hundred  friends  with  lighted  torches  and  without  a  priest.  His 
body  now  lies  in  cemetery  of  Pere  Lachaise,  where  it  was  removed  in  1817. 

That  Louis  XIV.  received  Molibre  with  much  personal  favor  is 
undoubted.  The  story  of  the  breakfast  represented  by  M.  Gbrome,  is  told 
by  Mme.  Campan  in  her  “  Memoirs.”  According  to  it,  it  came  to  the 
king’s  ears  that  certain  officers  of  his  household  had  refused  to  dine  with 
Molibre  at  the  house  of  his  majesty’s  purveyor-in-chief.  A  day  or  two 
later,  Molibre  happening  to  be  at  Versailles,  where  the  court  was,  with  his 
troupe,  called  to  make  a  morning  service  to  the  king.  Through  an  ante¬ 
chamber  crowded  with  the  courtiers  who  had  disdained  him,  Louis,  who 
was  just  from  the  hands  of  his  valet,  had  the  comedian  introduced  into 
his  presence.  He  was  breakfasting  lightly  on  the  luncheon  that  had  been 
prepared  for  him,  as  was  the  custom,  should  he  have  wished  to  eat  at 
night,  and  commanding  Molibre  to  sit  opposite  him,  served  him  with  a 
wing  of  his  own  fowl,  and  ordered  the  courtiers  to  be  admitted,  to  whom 
he  said  : 


90 


MOLIERE  BREAKFASTING  WITH  LOUIS  XIV.  AT  VERSAILLES. 


“You  see  me,  gentlemen,  in  the  act  of  eating  with  Molihre,  whom  the 
people  of  my  house  do  not  find  good  enough  company  for  them.” 

M.  Gerome  represents  the  king  in  the  centre  of  the  composition, 
seated  at  a  table  covered  with  a  sumptuous  cloth,  and  turning  with  an 
expression  of  mockery  to  the  bowing  courtiers,  gathered  on  the  left  of 
the  picture  and  behind  him,  to  whom  he  is  speaking.  In  the  foreground, 
to  the  extreme  left,  the  Coadjutor  Archbishop  de  Retz,  with  his  beretta 
crushed  in  his  nervous  hand,  holds  himself  haughtily  erect,  convulsed  with 
futile  rage  and  apprehension  at  the  suggested  peril  to  the  Church.  Oppo¬ 
site  the  king,  Moliere  sits  at  the  right,  listening  with  a  face  full  of  satire 
and  satisfaction  at  the  humiliation  of  his  arrogant  enemies.  Servants  are 
bringing  in  dishes  behind  the  comedian.  The  scene  is  laid  in  one  of  the 
smaller  state  apartments  at  Versailles,  an  interior  ornate  in  the  architec¬ 
ture  and  decoration  of  the  period,  with  a  canopied  throne  seat  at  the 
back. 

The  date  of  the  painting  is  1862. 

91 


/ctZ  DE  NEUVILLE  (Alphonse  Marie),  .  Deceased 

Born  at  Saint  Omer,  France ,  1836.  A  member  of  a  wealthy  family,  his  parents 
intended  him  for  an  official  career ,  but  he  was  only  willing  to  join  the  army 
and  entered  the  school  at  Lorient.  Here  his  astonishing  skill  in  drawhig 
70  as  remarked.  In  order  to  make  peace  with  his  family,  he  went  to  Paris 
and  entered  the  law-school,  but  he  spent  more  time  at  the  military  sch^l 
and  in  the  Champs-de-Mars,  sketching  and  becoming  familiar  with  all  the 
details  of  a  soldier's  life.  He  returned  home ,  declaring  he  would  be  a 
painter  or  nothing.  His  friends  endeavored  to  discourage  his  determina¬ 
tion,  and  the  artists  upon  whom  he  called  in  Paris  advised  him  to  go  back 
home.  Delacroix,  however,  became  his  friend,  and  with  him  De  Neuville 
spent  many  hours.  He  studied  also  with  Picot.  De  Neuville' s  first  pict¬ 
ures  were  not  particularly  remarkable,  but  the  Franco-Prussian  war  gave 
him  inspiration  and  subjects  almost  without  limit,  and  since  that  time  the 
artist  has  produced  some  of  the  greatest  battle-pictures  of  any  time. 
Medals,  Paris,  1859,  1861.  Chevalier  of  the  Legion  of  Honor,  1873. 
Officer  of  the  Same,  1881.  Died,  1885. 

No.  69 

HAULING  BY  THE  CAPSTAN— YPORT, 

NORMANDIE. 

(HALAGE  DU  CABESTAN.) 

22  x  38. 


The  sky  is  sullen  and  the  sea  pelts  the  shingle  with  angry  blows  of  its 

uneasy  waves.  In  air  and  ocean  the  storm  is  brooding,  nursing  its  wrath  with 

blackening  brows.  The  tempest  is  held  within  check  only  by  its  own  wanton 
92 


HAULING  BY  THE  CAPSTAN — YPORT,  NORMANDIE. 


and  capricious  will,  and  those  who  are  on  the  waters  do  wisely  in  fleeing 
before  the  peril  that  is  soon  to  come.  One  fishing  boat  has  gained  the 
strand,  and  her  hawser  has  been  carried  up  to  the  huge  capstan  by  which 
she  may  be  dragged  out  of  reach  of  the  breakers.  Manhood  and  youth,  old 
age  and  childhood,  bend  to  their  labor  at  the  capstan  bars,  while  on  the  beach 
below  strong  hands  steady  the  boat  and  keep  her  on  an  upright  keel  as  she 
makes  her  toilsome  progress  to  a  safe  resting-place.  The  capstan  creaks  and 
groans  ;  the  heavy  keel  of  the  boat  grinds  the  shingle  into  fragments,  and  the 
driving  wind,  whistling  in  the  rigging,  shakes  and  sways  the  beached  craft  as 
if  in  fury  at  being  robbed  of  its  prey.  In  contrast  with  the  wild  spirit  of 
nature  and  the  furious  energy  of  the  rude  toilers  of  the  sea,  face  to  face  with 
their  worst  foe,  and  struggling  to  baffle  him,  the  artist  shows,  in  himself  and 
his  wife,  types  of  the  refined  and  sheltered  life  of  the  town,  luxurious  idlers 
who  come  to  look  with  curiosity  on  this  episode  from  lives  of  ceaseless  trouble 
and  perennial  toil,  and  to  find  in  its  tragic  earnestness  the  subject  for  a 
painted  sermon  for  the  eyes  of  luxury  and  ease. 

93 


£/  r 


BONHEUR  (Francois  Auguste),  .  .  Deceased 

Born  in  Bordeaux,  1824.  Died,  1884.  Brother  of  Rosa  Bonheur  and  pupil 
of  their  father,  Raymond  Bonheur,  a  meritorious  artist,  who  died  in  1853. 
Auguste  achieved  reputatio?i  as  a  landscape  and  animal  painter.  Medals , 
1852,  1857,  1859,  1861,  1863.  Chevalier  of  the  Legion  of  Honor,  1867. 


No.  70 

NORMANDY  CATTLE. 

(BESTIAUX  NORMAND.) 

23i  x  32. 

It  is  a  landscape  of  large  lines  and  simple  dignity,  mellowing  in  the  mid¬ 
summer  midday.  Under  a  sky  aglow  with  light  basks  a  champaign  broken 
with  clumps  of  verdure  and  gentle  elevations,  in  which  the  rich  color  of  the 
ripening  year  is  refined  by  the  harmony  of  a  nature  all  in  tune.  In  a  pool  in 
the  foreground,  a  red  cow  is  drinking.  Behind  her,  and  also  in  the  water,  is  a 
black  cow,  while  on  the  right  a  dun  and  white  cow  is  calling,  with  her  head  up. 
To  the  right  in  the  second  plane,  a  peasant  woman  is  driving  two  cows  to 
water  along  the  bank.  On  the  left,  over  the  crown  of  a  road  which  ascends 
a  low  hillock  from  the  pool,  is  seen  the  figure  of  a  mounted  man.  A  few 
stunted  but  richly  verdured  trees  break  the  not  unpleasing  monotony  of  the 

landscape.  The  picture  is  not  dated. 

94 


f 


VI  BERT  (Jean  Georges) . Paris 

Born  in  Paris ,  1840.  Pupil  of  l ' JE cole  des  Beaux-Arts,  and  of  Barrias, 
Paris.  Medals,  Paris,  1864,  1867,  1868,  1878  (. Exposition  Universelle). 
Chevalier  of  the  Legion  of  Honor,  1870. 


No.  71 

SCENE  AT  A  SPANISH  DILIGENCE  STATION. 

(UNE  COUR  DE  DILIGENCE  EN  ESPANGE.) 

27  x  36. 

The  diligence  office  is  almost  as  complete  an  epitome  of  Spanish  life  and 
character  to-day  as  it  was  at  the  opening  of  the  century.  The  world’s  progress 
has,  it  is  true,  invaded  the  Iberian  peninsula  astride  of  the  iron  horse,  but 
railway  communication  is  by  no  means  universal,  and  even  where  it  does 
exist,  as  a  line  of  connection  between  the  more  important  points,  the  ancient 
stages  are  frequently  kept  up.  The  Spaniard  has  not  outgrown  the  national 
predilection  for  travelling  through  life  by  easy  stages.  Neither  has  he  lost  his 
love  of  gossip,  and  of  the  interchange  of  badinage  by  the  way — that  merry 
weakness  of  the  idle  tongue  that  has  found  in  “  Figaro  ”  a  type  of  all  his  race. 
Modern  Spain  is  still  the  Spain  of  Beaumarchais.  The  characters  of  “  The 
Barber  of  Seville  ”  still  lounge  in  its  sunny  streets  and  go  a-journeying  as  of 
old,  and  from  among  them  M.  Vibert  has  found  material  for  his  picture. 

In  a  court-yard  at  Seville,  the  passengers  are  awaiting  the  departure  of 
the  stagecoach.  In  the  foreground  to  the  right,  a  black-robed  priest  with  the 

long  box  containing  some  ecclesiastical  vestment  on  his  knees,  is  seated 

95 


SCENE  AT  A  SPANISH  DILIGENCE  STATION. 


against  the  wall,  reading  in  his  breviary.  His  ascetic  face  wears  a  particularly 
severe  expression,  caused,  no  doubt,  by  an  active  flirtation  between  his  neigh¬ 
bors.  They  occupy  the  middle  of  the  picture,  in  a  group  of  three,  whose 
centre  is  a  coquettish  Spanish  beauty  gayly  attired  in  yellow  silk  and  white 
lace.  She  has  on  her  left  a  Spanish  bull-fighter,  in  a  bright  blue  suit,  with  a 
scarlet  serape  cast  over  his  shoulder,  and  on  her  right  another  admirer  more 
soberly  clad.  Their  conversation  is  animated,  and  accompanied  with  spirited 
gestures  and  cigarette  smoke.  In  the  background  other  figures  are  gathered 
about  a  booth,  and  a  muleteer  lies  among  his  trappings  on  the  ground.  The 
diligence,  as  yet  unhorsed,  shows  in  the  rear  of  the  court  over  the  heads 
of  its  waiting  passengers. 

The  picture  bears  the  date  1869. 

96 


»  - 

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■■■-bbSP^  '  '*4 

MEISSONIER  (Jean  Louis  Ernest),  .  .  Paris 

Born  at  Lyons,  1813.  He  went  to  Paris  when  quite  young,  and  was,  for 
a  time,  a  pupil  of  Leon  Cogniet.  First  exhibited  at  the  Salon  Si  1836. 
His  picture,  “A  Brawl"  (1855),  was  purchased  by  Napoleon  IIP.  and 
presented  to  the  late  Prince  Albert,  of  England.  Medals,  Paris,  1840, 
1841,  1843,  1848.  Grand  Medal  of  Honor,  1855  (. Exposition  Uni- 
verselle).  One  of  the  eight  Grand  Medals  of  Honor  (. Exposition 
Universelle),  1867  ;  Grand  Medal  of  Honor  (. Exposition  Universelle), 
1878.  Chevalier  of  the  Legion  of  Honor ,  1846  ;  Officer  of  the  Same, 
1856  ;  Commander  of  the  Same,  1867  ;  Grand  Officer  of  the  Same, 
1878.  Member  of  the  Lnstitute  of  France,  1861.  Honorary  Member 
of  the  Royal  Academy,  London. 


No.  72 

THE  GAME  LOST. 

*  '  *  ,  l*  >  .  *4  - 

(PARTIE  PERDU.) 

13^  x  io.J. 

>  '  «  *  *t 

The  gamester,  in  one  guise  or  another,  has  always  been  a  favorite 

t  ■  ■  •  . 

subject  with  the  greatest  of  modern  French  masters  at  the  easel. 

His  first  public  impression  as  a  painter  was  made  in  1836,  with  a  pict- 
ure  of  chess  players.  Then  he  turned  to  the  gamblers  at  dice  with  equal 
success.  The  card  players  next  engaged  his  attention,  and  through  them 
some  of  his  greatest  triumphs  have  been  won.  He  has  painted  them  at 

•  '  v  *■  ■  }  #  r  ■< 

their  game,  in  repose  ;  after  their  game,  in  the  action  of  a  furious  brawl  ; 

and  again  dying  from  the  results  of  a  quarrel  over  a  disputed  stake.  The 

97 


THE  GAME  LOST. 


best  of  his  card  players  are  the  old  campaigners  of  the  robust  period  of 
Louis  XIII.,  whom  he  paints  at  play  in  the  barrack-room,  squandering  in 
the  idleness  of  peace  the  spoils  of  war.  It  is  notable  that  in  his  treatments 
of  these  subjects  he  not  only  accurately  depicts  the  dress  and  surroundings 
of  the  time,  but  gives  in  his  types  of  character  an  amazing  reflex  of  the 
human  traits  and  characteristics  of  the  day  he  deals  with.  There  is  none 
of  the  quality  of  the  lay  figure  in  his  heroes,  and  none  of  the  suggestion 
of  a  modern  model  tricked  out  in  an  antique  masquerade. 

In  “The  Game  Lost”  he  presents  to  us  four  figures,  in  a  corner  of 
a  barrack-room.  Of  these,  two  are  players,  and  two  spectators.  The 
players  sit  face  to  face,  astride  of  a  bench,  which  serves  them  for  a  table 
as  well.  Both  are  old  soldiers,  who  have  grown  gray  in  battle  and  adven¬ 
ture,  and  are  in  full  uniform.  They  are  evidently  beguiling  the  time 
before  they  go  on  duty  with  a  bout  at  the  pasteboards.  One,  bare¬ 
headed  and  serious,  sits  straight  up,  conning  his  hand  and  selecting  the 
card  to  play,  while  a  younger  comrade,  seated  beside  him,  looks  over  his 
cards  and  utters  a  hint  as  to  the  selection  he  may  make.  The  other  player, 
who  wears  his  hat  and  the  sash  of  an  officer  of  the  day,  evidently  secure 
in  the  possession  of  a  strong  hand,  has  his  mind  made  up  as  to  his  course. 
He  does  not  look  at  his  cards,  but  watches  his  opponent,  leaning  slightly 
forward,  with  one  hand  on  his  hip,  ready  to  draw  his  winning  card  when 
the  other’s  play  is  made.  On  a  stool  beside  him  lies  a  clay  pipe,  which 
he  has  laid  aside  in  the  excitement  of  the  game.  The  fourth  figure  is 
that  of  another  old  soldier,  in  a  steel  cuirass  and  without  his  hat,  who 
leans,  standing,  against  the  wall  behind  the  officer,  with  a  pipe  in  his 
hand,  blowing  a  cloud  as  he  surveys  the  game.  The  light  enters  from 
an  unseen  window,  and  the  background  gains  variety  from  a  plank  parti¬ 
tion  over  which  a  mantle  has  been  thrown.  In  all  the  details  the  facts 
of  the  scene  are  accurately  observed.  The  two  players,  who  are  presently 
to  go  on  duty,  are  booted  and  spurred.  The  two  who  are  off  duty  are 
bareheaded,  and  wear  their  uniforms  carelessly.  One  can  almost  tell  the 
hour  of  day  from  the  light  that  enters  at  the  window. 

“The  Game  Lost”  is  dated  1863. 

9s 


MEISSONIER  (Jean  Louis  Ernest), 


Paris 


Born  at  Lyons,  1813.  He  went  to  Paris  when  quite  young,  and  was,  for 
a  time,  a  pupil  of  Leon  Cogniet.  First  exhibited  at  the  Salon  in  1836. 
His  picture,  “A  Brawl  ”  (1855)  was  purchased  by  Napoleon  LIL.  and 
presented  to  the  late  Prince  Albert,  of  England.  Medals,  Paris,  1840, 
1841,  1843,  1848.  Grand  Medal  of  Honor,  1855  ( Exposition  Uni- 
verselle).  One  of  the  eight  Grand  Medals  of  Honor  (. Exposition 
Universelle),  1867  ;  Grand  Medal  of  Honor  (. Exposition  Universelle), 
1878.  Chevalier  of  the  Legion  of  Honor,  1846  ;  Officer  of  the  Same, 
1856  ;  Commander  of  the  Same,  1867  ;  Grand  Officer  of  the  Same,  1878. 
Member  of  the  Lnstitute  of  France,  1861.  Honorary  Member  of  the 
Royal  Academy,  London. 


lit.  iW 


No.  73 


THE  STIRRUP  CUP. 

(COUP  DE  L’ETRIER.) 

3?  x  4f.  1866. 


It  is  a  white,  hot,  midsummer  day.  On  one  of  the  dusty  highways  of 
the  South  of  France  the  air  is  ablaze  with  heat  as  from  a  furnace.  The 
traveller,  pushing  forward  on  his  journey,  has  halted  for  his  breakfast  at  an 
humble  wayside  inn,  and  having  refreshed  and  rested  himself,  has  remounted 
to  resume  the  road,  and  is  being  served  in  the  saddle  with  a  parting  draught 
of  wine  by  his  host.  The  traveller  is  in  a  pink  silk  coat  of  the  style  of 
the  last  century,  and  is  mounted  on  a  white  horse.  His  back  is  towards 
the  spectator,  and  the  horse  is  seen  foreshortened.  The  innkeeper  stands  at 
the  horse’s  head,  facing  forward,  and  holds  a  wine  jug  in  his  hand  and  a  glass 
on  a  tray.  He  is  a  sturdy  figure,  in  his  shirt,  with  the  sleeves  rolled  up  and 
blue  woolen  stockings  encasing  his  stout  legs,  firmly  planted  on  the  ground. 
The  figures  are  relieved  against  the  wall  of  the  inn,  which  is  in  bright  sun¬ 
light.  In  spite  of  the  miniature  dimensions  of  the  panel,  every  detail  is 
rendered  with  the  most  exquisitely  scrupulous  exactitude — the  buttons  on 
the  traveller’s  coat,  the  harness  of  his  horse,  the  glint  of  light  on  the  glass. 
At  the  same  time  the  picture  has  the  brilliancy  and  vigor  of  the  largest  and 
most  dashingly  executed  work. 


99 


if  fa  /  tHF,  ALMA-TADEMA  (Laurenz),  R.  A.,  .  .  London 

Born  at  Dronryp ,  West  Friesland ,  Holland ,  1836.  First  studied  in  the 
Gymnasium  of  Leeuwarden,  where  he  devoted  much  of  his  time  to  the 
study  of  Grceco-Roman  and  Egyptian  antiquities.  Entered  the  Academy 
at  Antwerp  in  1852,  and  subsequently  studied  under  Baron  Leys.  In 
1870  fixed  his  residence  in  London.  Medals ,  Paris ,  1864—1867  ( Expo¬ 
sition  Universelle)  j  1878  (. Exposition  Univer selle).  Grand  Gold  Medal, 
Berlin,  1874.  Chevalier  of  the  Legion  of  Honor,  1873  ;  Officer  of 
the  Same,  1878.  Cross  of  the  Order  of  Merit,  Berlin,  1881.  Knight 
of  the  Order  of  Leopold ;  Cross  of  the  Order  of  the  Dutch  Lion ; 
Knight  of  the  Order  of  St.  Michael  of  Bavaria  j  of  the  Gold  Lion  of 
the  House  of  Nassau ;  Cross  of  the  Order  of  the  Royal  Crown  of 
Prussia.  Member  of  the  Royal  Academy  of  Amsterdam  j  of  the  Royal 
Acadetny  of  Munich ;  of  the  Royal  Academy  of  Berlin j  and  of  the 
Royal  Academy  of  London.  Member  of  the  English  Society  of  Painters 
in  Water  Colors.  Honorary  Professor  of  the  Royal  Institute  of  Fine 
Arts,  Naples,  and  Corresponding  Member  of  the  Acadetny  of  the  Fine 
Arts,  France. 

No.  74 

QUEEN  CLOTILDA,  WIFE  OF  CLOVIS,  FIRST 
CHRISTIAN  KING  OF  FRANCE,  INSTRUCTING 
HER  CHILDREN  IN  ARMS. 

25I  x  35f 

Clotilda,  wife  of  the  great  Clovis,  the  first  Christian  king  of  France, 
was  the  daughter  of  the  King  of  Burgundy.  Her  mother  and  father  had 
been  assassinated  by  her  uncle,  who  had  caused  the  latter  to  be  stabbed 


IOO 


f 


QUEEN  CLOTILDA  INSTRUCTING  HER  CHILDREN  IN  ARMS. 


and  the  former  to  be  drowned  with  a  heavy  stone  about  her  neck.  Their 
daughter  brooded  upon  revenge,  until  the  death  of  the  great  king,  her 
husband,  left  the  care  and  education  of  her  sons  entirely  in  her  hands, 
when  she  bade  them  think  with  bitter  hate  of  the  foul  wrong  that  her 
uncle  had  done  her  and  avenge  the  death  of  her  father  and  mother.  The 
education  which  she  addressed  herself  to  giving  them  was  calculated  to 
this  end. 

They  are  shown  in  the  picture  practicing  with  the  axe  at  a  target  of 
planks  in  the  open  court-yard  of  the  palace,  which  is  built  in  the  Roman 
style.  The  elder,  a  handsome  child  with  flaxen  locks,  stands  posed  in  the 
foreground  a  little  to  the  left,  balancing  in  his  upraised  hand  the  hatchet 
he  is  about  to  launch  at  its  mark.  His  brother,  a  still  younger  child, 
stands  farther  retired,  between  him  and  the  target,  watching  him  and 
clutching  with  childish  eagerness  the  axe  which  he  is  next  to  cast.  The 
third  child,  little  more  than  a  baby,  clings  to  the  knee  of  his  mother,  who, 
seated  on  her  throne  in  the  centre  of  the  composition,  with  the  solemn 
symbol  of  Christianity  drawn  in  large  lines  on  the  walls  behind  her,  gazes 
with  pride  and  infinite  sadness  in  her  haughty  and  determined  face  at  her 
gallant  boys,  qualifying  themselves  for  the  work  of  a  bloody  retaliation. 
At  the  extreme  left  of  the  foreground  an  old  warrior,  the  instructor  of 
the  warlike  little  princes,  leans  with  one  arm  upon  his  ponderous  shield 
and  watches  with  grave  satisfaction  the  exhibition  of  his  pupil’s  prowess. 
The  queen’s  women  are  grouped  behind  her ;  on  her  left  hand  is  a  group 
of  ecclesiastics,  and  the  other  side  of  the  composition  is  filled  in  with 
royal  guards  and  court  dignitaries. 

This  remarkable  painting  is  the  work  to  which  the  artist  owes  his 
first  success.  It  was  painted  previously  to  his  settlement  in  London,  was 
exhibited  in  Antwerp  in  1 86 1 ,  purchased  by  the  Antwerp  Society  for  the 
Encouragement  of  the  Fine  Arts,  from  whose  hands  it  passed  into  the 
collection  of  the  King  of  the  Belgians,  and  at  the  dispersion  of  His 
Majesty’s  collection,  was  brought  to  the  United  States. 


IOI 


BOUGUEREAU  (William  Adolphe), 


Paris 


/  //  6 


Born  in  La  Rochelle ,  1825.  When  quite  young ,  after  passing  through  the 
College  at  Rons,  where  he  showed  an  aptitude  for  drawing,  Bouguereau 
was  placed  in  a  business  house  in  Bordeaux.  While  there  he  attended, 
two  hours  a  day,  the  drawing-school  of  M.  Alaux.  Treated  contempt¬ 
uously  by  his  fellow- students  on  account  of  his  unaristocratic  business 
connections,  Bouguereau  nevertheless  took  the  first  prize  at  the  end  of 
the  year,  the  award  causing  such  excitement  in  the  school  that  a  riot 
was  the  consequence.  Bouguereau  resolved  thenceforth  to  turn  his  atten¬ 
tion  to  art,  and  after  he  had  earned  sufficietit  money  by  paitiiing  portraits 
at  Saintonge,  where  his  uncle  was  a  priest,  he  went  to  Paris  and 
entered  the  studio  of  Picot ,  and  later  /’ Ecole  des  Beaux- Arts,  where  his 
progress  was  rapid.  The  gained  the  Prix  de  Rome  in  1850,  and  then 
studied  in  Ro?ne.  Medals,  Paris,  1855  ( Exposition  Universelle ),  1857, 
1867  ( Exposition  Universelle ).  Chevalier  of  the  Legion  of  Honor, 

1859.  Member  of  the  Lnstitute  of  France,  1876.  Officer  of  the 
Legion  of  Honor,  1876.  Medal  of  Honor  (. Exposition  Universelle ), 
1878.  Knight  of  the  Order  of  Leopold,  1881.  Grand  Medal  of 
ILonor ,  Paris,  1885.  Medal  of  Honor,  Antwerp,  1885. 


No.  75 

HESITATING  BETWEEN  LOVE  AND  RICHES. 

(ENTRE  L’ AMOUR  ET  LA  RICHESSE.) 

42  x  35. 


"  I  have  no  store 
Of  gryphon-guarded  gold  ; 

Now  as  before, 

Bare  is  the  shepherd’s  fold. 


102 


HESITATING  BETWEEN  LOVE  AND  RICHES. 


Rubies  nor  pearls 
Have  I  to  gem  thy  throat ; 

Yet  woodland  girls 
Have  loved  the  shepherd’s  note.” 

It  is  some  such  song  as  that  of  Oscar  Wilde’s  amorous  shepherd  that 
love  pours  into  the  ear  of  youth,  while  loveless  age  essays  to  silence  its 
charms  with  the  tempting  clink  of  gold  and  the  tinkle  of  glistening  gems. 
And  between  the  troubadour  who  offers  the  treasure  of  his  heart  and 
the  graybeard  who  proffers  the  treasures  of  his  coffers,  the  maiden  sits 
in  doubt.  But  while  she  questions,  without  a  glance  at  the  sordid  bait 
that  senility  holds  forth  to  her,  her  ears  are  open  to  the  plea  of  the  poet’s 
song.  Even  when  eyes  are  blind  the  heart  has  open  eyes,  and  there  can 
be  little  question  of  what  her  choice  will  be. 

The  figure  of  the  prize  for  which  youth  and  age  contend  with  such 
unequal  weapons  occupies  the  centre  of  the  composition  in  a  pensive 
attitude.  On  her  left,  the  youthful  gallant  chants  his  passion  in  her  ear, 
between  touches  upon  his  mandolin.  On  her  right  the  aged  suitor  tempts 
her  with  a  jewel  casket.  The  costumes  are  of  the  later  fourteenth  or 
early  fifteenth  century,  sumptuous  in  material  and  rich  in  color.  The 
maiden’s  face  is  pure  in  outline,  its  youth  chastened  by  gravity.  Her 
dress  of  pink  stuff,  with  white  at  the  arms  and  throat,  accentuates  by  its 
simplicity  the  richness  of  its  surroundings,  and  gives  meaning  to  the 
allegory.  The  figures  are  shown  at  three-quarter  length.  The  date  is 
1869. 

IO3 


fh-  fC' 

SiSy\ 

(fjr  /%f*7phv 


GEROME  (Jean  L£on), . Paris 

Born  at  Vesoul,  France,  1824.  Went  to  Paris  in  1841,  and  entered  the  studio  of 
Paul  Delaroche,  at  the  same  time  following  the  course  at  l  ’  Ecole  des  Beaux- 
Arts.  In  1844  he  accompanied  Delaroche  to  Italy.  He  made  his  debut  at 
the  Salon  of  1847.  In  1853  and  1856  he  travelled  in  Egypt  arid  Turkey , 
studying  closely  the  history  and  customs  of  those  countries.  Medals,  Paris, 
1847,  1848,  1855  ( Exposition  Universelle).  Member  of  the  Institute, 
1865.  Medal  of  Honor  (. Exposition  Universelle),  1867.  Medal  of 
Honor,  1874.  Medal  for  Sculpture  and  one  of  the  eight  Grand  Medals 
of  Honor  (. Exposition  Universelle),  1878.  Chevalier  of  the  Legion  of 
Honor,  1855  ;  Officer  of  the  Same,  1867  ;  Commander  of  the  Same, 
1878  ;  Chevalier  of  the  Order  of  the  Red  Eagle.  Member  of  the  Royal 
Academy,  London.  Professor  in  l’ Ecole  des  Beaux-Arts. 


No.  76 


L’EMINENCE  GRISE. 

29\  x  39- 


There  were  two  kings  in  France  when  Louis  XIII.  was  young,  and  neither 
wore  the  crown.  These  unanointed  monarchs  were  Armand  Jean  du  Plessis, 
Cardinal  Due  de  Richelieu,  and  his  strong  right  arm  and  brother  brain, 
Francois  Leclerc  du  Tremblay,  otherwise  Father  Joseph  of  the  Order  of  Capu¬ 
chins.  While  Richelieu  ruled  France  and  swayed  the  destinies  of  Europe  in 
the  midst  of  the  most  magnificent  ecclesiastical  and  worldly  state,  his  ascetic 
confidant  and  prime  minister  passed  through  the  great  pages  of  history  stern 

and  severe  as  a  spectre,  conquering  his  victories  with  sandalled  feet  on  the 
104 


l’eminence  grise. 


steps  of  thrones,  and  with  his  rude  friar’s  vestment  carrying  amid  the  gayety 
of  frivolous  courts  the  menace  of  an  iron  power. 

Francois  Leclerc  du  Tremblay  was  born  of  a  good  family  in  Paris  in  1571. 
He  received  the  amplest  education  of  the  time,  and  entered  the  army  as  a 
gentleman  volunteer,  serving  in  the  campaigns  as  Baron  de  Mafic6.  His 
spirit  was  sober,  and  his  temperament  melancholy.  Given  to  dreams  of  duty 
at  variance  with  the  light  manners  of  the  camp  in  a  gallant  age,  he  withdrew 
from  the  army,  and  entered  the  Order  of  Capuchins  in  1599.  He  had  become 
distinguished  as  a  mission  priest  of  fiery  enthusiasm  and  enormous  energy 
when  Richelieu  rose  to  power  at  court  in  1614.  His  labors  in  the  organiza¬ 
tion  of  missions  to  India  and  America  brought  him  in  contact  with  the 
Secretary  of  War  and  Foreign  Affairs.  Richelieu,  with  an  eagle  eye  for  men 
of  his  own  intellectual  stamp,  recognized  in  this  severe  devotee  also  a  states¬ 
man  of  broad  views  and  comprehensive  knowledge,  and  a  diplomat  of  a 
shrewdness  and  ability  second  only  to  his  own.  To  appreciate  a  man,  with 
Richelieu,  was  to  advance  him.  Father  Joseph  was  set  to  the  difficult  task  of 
healing  the  breach  between  Louis  XIII.  and  his  mother,  in  1620.  He  suc¬ 
ceeded.  The  Queen  was  restored  to  her  position  at  court  and  Richelieu’s 
influence  laid  on  a  solid  foundation.  In  two  years  more  the  Secretary  of  War 
was  made  Cardinal,  and  in  two  more  Minister  of  State.  Father  Joseph 
became  his  secretary  and  coadjutor.  He  was  henceforth  associated  with 
Richelieu’s  greatest  triumphs  of  statesmanship.  It  was  Friar  Joseph  who 
secured  from  Rome  the  dispensation  for  the  marriage  of  Henrietta  of  France 
to  James  I.  of  England  in  1624,  who  brought  about  the  dismissal  of  Wallen¬ 
stein  by  Ferdinand  II.,  who  signed  the  peace  of  Ratisbonne  in  1629,  and 
who,  as  much  as  Richelieu  himself,  shaped  the  foreign  policy  which  bred  dis¬ 
cord  over  all  Europe  to  make  France  the  stronger.  Father  Joseph  died  in 
1638,  after  the  Pope  had  granted  him  a  Cardinal’s  hat  but  before  he  had  time 
to  wear  it. 

This  is  the  homely  and  barefooted  friar  who  in  M.  G6rome’s  picture  is 
descending  the  grand  staircase  of  the  Cardinal’s  palace,  reading  his  breviary 
while  the  courtiers  go  cringing  up  on  the  other  side.  They  bend  servilely 
while  his  eye  is  on  them,  and  turn  upon  him  glances  of  hatred,  scorn  and  fear, 

105 


l’eminence  grise. 


when  they  have  passed,  while  some  high  ecclesiastic,  going  up  to  seek  an 
audience  with  the  friend  and  colleague  of  this  brooding  priest  and  statesman, 
looks  back  at  him  with  eyes  of  envy  mingled  with  contempt.  The  pomp  of 
the  red  Cardinal  blazons  itself  in  the  splendid  tapestry  upon  the  staircase, 
where  his  arms  glow  and  flash  in  crimson  and  gold.  The  might  of  the  gray 
Cardinal  is  written  in  every  line  of  his  straight  figure,  from  whose  harsh  vest¬ 
ment  adulation  and  hatred  alike  recoil  as  from  a  suit  of  mail. 

“  L’ Eminence  Grise”  was  painted  in  1874. 

106 


FORTUNY  Y  CARBO  (Mariano),  .  .  Deceased 

Born  at  Reus,  in  Catalonia ,  1838.  Died  in  Rome,  1874.  Pupil  of  Palau,  of 
Lorenzalez  and  of  the  Barcelona  Academy,  where  he  won  the  Prix  de 
Rome  in  1856.  At  Rome,  which  thenceforth  became  his  residence,  he 
studied  Raphael  and  made  sketches  of  Roman  life.  In  1859  he  was  sent 
to  Morocco  by  the  Government  to  paint  the  incidents  of  General  Prim's 
campaign.  In  1866  he  went  to  Paris ,  and  then  to  Madrid,  where  he 
remained  three  years  studying  the  works  of  Velasquez,  Ribera  and  Goya. 
His  original  style,  correct  drawing  and  fine  color  gained  for  him  a  great 
reputation ,  and  the  sale  of  the  contents  of  his  studio  after  his  death  brought 
800,000  francs. 


No.  77 

A  SPANISH  L,  AD  Y 

(UNE  DAME  ESPAGNOLE.) 

53  x  39- 


“  Carmen  est  maigre, — un  trait  de  bistre 
Ceme  son  oeil  de  gitana, 

Ses  cheveux  sont  d’un  noir  sinistre 
Sa  peau,  le  diable  la  tanna.” 

Theophile  Gautier. 


A  portrait  of  a  beautiful  Spanish  woman  of  the  higher  rank  and  the  pure 

Castilian  type,  painted  in  an  erect  position  at  three-quarter  length  and  on 

the  scale  of  life.  The  lady  is  looking  forward  with  an  expression  of  some 

gravity.  She  is  dressed  in  a  modern  costume  of  rich  black  silk,  with  white 

107 


A  SPANISH  LADY. 


lace  at  the  wrists  and  a  white  linen  collar.  The  dress  is  confined  at  the  front 
with  coral  buttons,  and  the  left  hand,  on  whose  forefinger  is  a  ring,  is  slightly 
lifting  the  skirt  with  a  movement  replete  with  quiet  grace.  The  right  hand 
toys  with  the  antique  and  oddly  designed  gold  chain  of  a  lorgnon.  The  back¬ 
ground  is  an  indefinite  gray  green,  strong  but  luminous,  against  which  the 
black  silk,  shot  with  steely  lights,  is  solidly  relieved. 

The  story  of  this  picture  is  in  its  way  a  romance ;  one  of  those  romances, 
indeed,  of  which  one  hears  much  more  in  the  history  of  art  than  one 
encounters  in  its  actuality.  Perhaps  it  is  best  told  in  the  words  of  the 
late  Mr.  Edward  Strahan  in  his  “The  Art  Treasuries  of  America,”  from  which 
the  following  is  taken: 

“  The  specimen  of  Fortuny  is  an  important  and  a  charming  one.  During  his  culminating, 
his  wonderful  years  at  Rome,  the  Spanish  painter  consented,  as  a  caprice  and  experiment,  to 
resume  for  one  time  the  life-size  scale  of  painting,  a  method  he  had  not  employed  since  his 
studies  for  the  “  Battle  of  Tetuan.”  The  result  is  before  us,  a  large  portrait  of  the  handsome 
wife  of  a  Secretary  of  the  Spanish  Embassy  at  Rome.  Fit  for  the  proud  portrait  gallery  of 
the  Silvas,  so  elegantly  recapitulated  in  “  Hernani,”  this  supreme  chef  d'wuvre  is  separated, 
perhaps  forever,  from  the  records  of  a  family  race  to  take  its  position  as  a  work  of  pure  art, 
and  enjoy  a  lease  of  artistic  life  apart  from  the  life  of  a  haughty  Castilian  house.  It  will  go 
down  to  posterity  anonymous  and  famous,  like  some  great  Reynolds  or  Tintoretto.  “  The 
Lady  with  the  Pince-Nez  ”  will  be  its  all-sufficient  designation,  as  we  mention  the  Titian  of 
the  Glove,  or  the  Rembrandt  with  a  Toque  ;  for  the  family  name,  which  has  been  mentioned 
to  me,  it  is  eminently  unsuitable  to  publish  under  the  circumstances.” 

It  is  of  this  same  master-piece  that  Arsene  Houssaye  wrote  in  a  letter  : 

“The  same  evening  I  saw,  at  the  residence  of  your  compatriot  Mr.  Stebbins,  the  only 
woman’s  portrait  ever  painted  by  Fortuny.  It  is  the  wife  of  a  Spanish  Secretary  of  Embassy 
at  Rome.  She  is  beautiful,  but  the  painting  is  far  more  beautiful  than  she.  Fortuny  was 
Velasquez  come  to  earth  again.  To  think  that  this  great  genius,  who  held  the  secret  of 
light  in  his  hand,  has  been  cast  back  into  eternal  night  because  the  Roman  fever  passed  by 
his  studio  !  When  will  another  Velasquez  be  born  ?  ” 

The  date  of  this  picture  is  1862. 

108 


SCULPTURE. 


TADOLINI  (Adam  Scipione),  .  .  .  Deceased 

Born  at  Bologna,  1789.  Pupil  of  Canova ,  Professor  of  the  Academy  of 
Bologna.  Among  the  works  of  this  sculptor  are  “  Venus  and  Love ;  " 
the  “  Rape  of  Ganymede,”  for  Prince  Ester  hazy  j  the  Tomb  of  Cardinal 
Laute,  for  the  city  of  Bologna  j  statue  of  “  St.  Francis  de  Sales,”  for  St. 
Peter  s,  at  Rome,  and  a  colossal  “  St.  Michael,”  for  the  late  Mr.  Gardner 
Brewer,  of  Boston.  Died,  1870. 


No.  78 

CUPID  AND  PSYCHE. 


$ 


(CANOVA’S  GROUP.) 

EXECUTED  BY  CHEVALIER  SCIPIONE  TADOLINI,  FROM  THE  ORIGINAL  MODEL  WHICH  HE  INHERITED  FROM 

CANOVA. 


f 

J'Mipecj 


Canova  won  his  first  success  as  a  sculptor  by  his  devotion  to  the  severe 
style  of  the  antique.  He  was  at  his  best,  however,  in  works  like  his  “  Cupid 
and  Psyche,”  in  which  he  mitigated  the  gravity  of  his  ideal  with  a  certain 
softness  and  grace  of  his  own.  This  beautiful  group  was  produced  soon  after 
he  had  completed  his  monument  to  Pope  Clement  XIV.,  and  holds  its 
place  to  this  day  at  the  head  of  his  lighter  imaginative  works,  showing  as  it 
does  his  delicate  and  masterly  treatment  of  the  marble  and  his  poetry  of 
sentiment  at  their  best.  Canova,  who  died  in  1822,  left,  among  other  dis¬ 
tinguished  pupils,  Professor  Adam  Scipione  Tadolini,  who  became  himself  a 
sculptor  of  the  highest  merit.  Professor  Tadolini  executed  in  the  dimensions 

of  the  original  a  reproduction  of  his  master’s  “  Cupid  and  Psyche.”  The 

109 


CUPID  AND  PSYCHE. 


amorous  god  is  shown  swooping  down  upon  the  lovelorn  maiden  with  a 
graceful  sinuousness  of  motion  to  his  winged  figure,  while  she  greets  him 
throwing  herself  backward  into  his  arms  with  the  motion  of  one  just  aroused 
from  sleep.  The  figures  are  in  the  dimensions  of  the  life  and  perfect  in  their 
repetition  of  the  original.  The  character  of  the  female  figure  is  refined  and 
tender,  as  befits  the  bride  of  the  love  god  in  whom  the  Greeks  embodied  the 
soul  or  spirit  of  mortality,  while  the  Cupid  has  the  refinement  and  youthful 
beauty  belonging  to  the  son  of  Jupiter  and  Venus,  who, 


<  ( 


Uncontrolled  through  heaven  extends  his  sway, 
And  gods  and  goddesses  by  turns  obey.” 


D’EPINAY  (Count  George  Prosper),  .  .  Paris 

Born  in  the  Island  of  Mauritius ,  Africa.  Pupil  of  Dautan.  Legion  of 
Honor ,  1878.  Hors  Concours.  Friend  and  companion  of  Fortuny. 


No.  79 

SATYR. 


t  4  /i 
*  v  (J . 


"  Satyrs  of  the  woodland  sort, 

Their  ears  pricked  up,  their  noses  short, 

With  asses’  hoofs,  great  goggle  eyes, 

And  double  chins  of  monstrous  size.” 

Yalden. 


/h 


Yalden  draws  a  more  exaggerated  picture  of  the  attendants  of  Silenus 
than  the  sculptor  presents  to  us.  But  the  sculptor  is  right  in  refining  the 
follower  of  the  Bacchanalian  demi-god  as  he  does.  His  type  remains  as 
characteristic,  while  it  becomes  more  pleasing,  and  his  “  Satyr  ”  is  made  a 
worthy  companion  to  his  spirited  representation  of  the  handmaiden  of 
Bacchus  himself,  the  merry  Bacchante. 

hi 


0/ 


(l  /t 


D’EPINAY  (Count  George  Prosper),  .  .  Paris 


No.  80 

BACCHANTE. 


“  Jolly  Bacchus,  god  of  pleasure, 

Charmed  the  world  with  drink  and  dances.” 

Thomas  Parnell. 


It  is  one  of  the  priestesses  of  this  merry  deity  whom  the  English  poet 

sings  that  the  sculptor  breathes  life  into  in  the  plastic  image  which  his  hands 

built  up.  He  presents  us  with  a  worthy  incarnation  of  the  supporters  of  the 

gay  god’s  shrine— a  priestess  whose  vocation  it  is  to  promote  her  tutelary 

deity’s  pleasures,  and  whose  religion  consists  in  sharing  with  him  in  the 

gayeties  with  which  he  charms  the  world. 

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